Naram-Sin of Akkad in the context of "Dingir"

The Akkadian Empire (/əˈkeɪdiən/) or kingdom of Akkad/Agade was an ancient kingdom, often thought to be the first known empire, succeeding the long-lived city-states of Sumer. Centered on the city of Akkad (/ˈækæd/ or /ˈɑːkɑːd/) and its surrounding region in modern-day Iraq, the empire united the Semitic Akkadian and Sumerian speakers under one rule and exercised significant influence across Mesopotamia, the Levant, modern-day Iran and Anatolia, sending military expeditions as far south as Dilmun and Magan (modern United Arab Emirates, Saudi Arabia, Bahrain, Kuwait, Qatar and Oman) in the Arabian Peninsula.

Established by Sargon of Akkad after defeating the Sumerian king Lugal-zage-si, it replaced the system of independent Sumero-Akkadian city-states and unified a vast region, stretching from the Mediterranean to Iran and from Anatolia to the Persian Gulf, under a centralized government. Sargon and his successors, especially his grandson Naram-Sin, expanded the empire through military conquest, administrative reforms, and cultural integration. Naram-Sin took the unprecedented step of declaring himself a living god and adopted the title "King of the Four Quarters." The Semitic Akkadian language became the empire’s lingua franca, although Sumerian (a language isolate) remained important in religion and literature. The empire was documented through inscriptions, administrative tablets, and seals, including notable sources like the Bassetki Statue. Enheduanna, Sargon’s daughter, served as high priestess and is recognized as the first known named author in history.

A rock relief or rock-cut relief is a relief sculpture carved on solid or "living rock" such as a cliff, rather than a detached piece of stone. They are a category of rock art, and sometimes found as part of, or in conjunction with, rock-cut architecture. However, they tend to be omitted in most works on rock art, which concentrate on engravings and paintings by prehistoric peoples. A few such works exploit the natural contours of the rock and use them to define an image, but they do not amount to man-made reliefs. Rock reliefs have been made in many cultures throughout human history, and were especially important in the art of the ancient Near East. Rock reliefs are generally fairly large, as they need to be in order to have an impact in the open air. Most of those discussed here have figures that are over life-size, and in many the figures are multiples of life-size.

Stylistically they normally relate to other types of sculpture from the culture and period concerned, and except for Hittite and Persian examples they are generally discussed as part of that wider subject. Reliefs on near-vertical surfaces are most common, but reliefs on essentially horizontal surfaces are also found. The term typically excludes relief carvings inside caves, whether natural or themselves man-made, which are especially found in Indian rock-cut architecture. Natural rock formations made into statues or other sculpture in the round, most famously at the Great Sphinx of Giza, are also usually excluded. Reliefs on large boulders left in their natural location, like the Hittite İmamkullu relief, are likely to be included, but smaller boulders may be called stelae or carved orthostats. Many or most ancient reliefs were probably originally painted, over a layer of plaster; in some traces of this remain.

The land of Subartu (Akkadian: Šubartum/Subartum/ina Šú-ba-ri, Assyrian: mât Šubarri) or Subar (Sumerian: Su-bir₄/Subar/Šubur, Ugaritic: 𐎘𐎁𐎗 ṯbr) is mentioned in Bronze Age literature and was inhabited by the Subarians. The name also appears as Subari in the Amarna letters, and, in the form Šbr, in Ugarit.

Subartu was apparently a kingdom in Upper Mesopotamia, at the upper Tigris and later it referred to a region of Mesopotamia. Most scholars suggest that Subartu is an early name for people of upper Mesopotamia proper on the Tigris and westward, although there are various other theories placing it sometimes a little farther to the east and/or north. Its precise location has not been identified. From the point of view of the Akkadian Empire, Subartu marked the northern geographical horizon, just as Amurru, Elam and Sumer marked "west", "east" and "south", respectively, functioning as a term to mean 'north'.

The Bassetki Statue is a monument from the Akkadian period (2350–2100 BCE) in Mesopotamia. It was discovered in 1974 during road construction near the site of the village Bassetki (located near the road between Duhok and Zakho Duhok Governorate, northern Iraq) for military purposes. The pedestal contains an inscription in Akkadian, indicating that the statue once stood in the doorway of a palace of the Akkadian ruler Naram-Sin (reigned c. 2254–2218 BCE).

The statue consists of a seated naked man on a round base. The upper body and the head of the figure have been broken off. It was cast from 98.2% pure copper using the lost-wax process. The statue's base is a diameter of 67 centimetres (26 in) and is 25 centimetres (9.8 in) high. The preserved part of the figure itself is 18 centimetres (7.1 in) high. The statue weighs 150 kilograms (330 lb).

Rimush (or Rimuš, 𒌷𒈬𒍑 Ri-mu-uš; died c. 2270 BC) was the second king of the Akkadian Empire. He was the son of Sargon of Akkad. He was succeeded by his brother Manishtushu, and was an uncle of Naram-Sin of Akkad. Naram-Sin posthumously deified Sargon and Manishtushi but not his uncle. His sister was Enheduana, considered the earliest known named author in world history. Little is known about his brother Shu-Enlil. There was a city, Dur-Rimuš (Fortress of Rimush), located near Tell Ishchali and Khafajah. It was known to be a cult center of the storm god Adad.

Shar-Kali-Sharri (𒀭𒊬𒂵𒉌 𒈗𒌷, Shar-ka-li-Sharri; died c. 2193 BC) reigned c. 2218–2193 BC (middle chronology) as the ruler of Akkad. In the early days of cuneiform scholarship the name was transcribed as "Shar-Gani-sharri". In the 1870s, Assyriologists thought Shar-Kali-Sharri was identical with the Sargon of Akkad, first ruler of Akkad, but this identification was recognized as mistaken in the 1910s. His name was sometimes written with the leading Dingir sign demarking deification and sometimes without it. Clearly at some point he was deified and two of his designations marked his divine status, "heroic god of Akkade", and "god of the land of Warium". He was the son and successor of Naram-Sin who deified himself during his lifetime.

King of the Four Corners of the World (Sumerian: lugal-an-ub-da-limmu-ba, Akkadian: šarru kibrat arbaim, šar kibrāti arbaʾi, or šar kibrāt erbetti), alternatively translated as King of the Four Quarters of the World, King of the Heaven's Four Corners or King of the Four Corners of the Universe and often shortened to simply King of the Four Corners, was a title of great prestige claimed by powerful monarchs in ancient Mesopotamia. Though the term "four corners of the world" does refer to specific geographical places within and near Mesopotamia itself, these places were (at the time the title was first used) thought to represent locations near the actual edges of the world and as such, the title should be interpreted as something equivalent to "King of all the known world", a claim to universal rule over the entire world and everything within it.

The title was first used by Naram-Sin of the Akkadian Empire in the 23rd century BC and was later used by the rulers of the Neo-Sumerian Empire, after which it fell into disuse. It was revived as a title by a number of Assyrian rulers, becoming especially prominent during the Neo-Assyrian Empire. The final ruler to claim the title was the first Persian Achaemenid king, Cyrus the Great, after his conquest of Babylon in 539 BC.