Ancient Near Eastern cosmology in the context of "Early Greek cosmology"

Nippur (Sumerian: Nibru, often logographically recorded as 𒂗𒆤𒆠, EN.LÍL, "Enlil City;" Akkadian: Nibbur) was an ancient Sumerian city. It was the special seat of the worship of the Sumerian god Enlil, the "Lord Wind", ruler of the cosmos, subject to An alone. Nippur was located in modern Nuffar 8 kilometers north of modern Afak, Al-Qādisiyyah Governorate, Iraq. It is roughly 200 km south of modern Baghdad and about 100 km southeast of the ancient city of Babylon. Occupation at the site extended back to the Ubaid period (Ubaid 2 – Hajji Muhammed), the Uruk period, and the Jemdet Nasr period. The origin of the ancient name is unknown but different proposals have been made.

Ancient Mesopotamian religion encompasses the religious beliefs (concerning the gods, creation and the cosmos, the origin of humanity, and so forth) and practices of the civilizations of ancient Mesopotamia, particularly Sumer, Akkad, Assyria and Babylonia between circa 6000 BC and 500 AD. The religious development of Mesopotamia and Mesopotamian culture in general, especially in the south, were not particularly influenced by the movements of the various peoples into and throughout the general area of West Asia. Rather, Mesopotamian religion was a consistent and coherent tradition, which adapted to the internal needs of its adherents over millennia of development.

The earliest undercurrents of Mesopotamian religious thought are believed to have developed in Mesopotamia in the 6th millennium BC, coinciding with when the region began to be permanently settled with urban centres. The earliest evidence of Mesopotamian religion dates to the mid-4th millennium BC, coincides with the invention of writing, and involved the worship of forces of nature as providers of sustenance. In the 3rd millennium BC, objects of worship were personified and became an expansive cast of divinities with particular functions. The last stages of Mesopotamian polytheism, which developed in the 2nd and 1st millennia BC, introduced greater emphasis on personal religion and structured the gods into a monarchical hierarchy, with the national god of each state being the head of the pantheon. Mesopotamian religion finally declined with the Christianization of Mesopotamia between the 1st and 5th centuries AD.

In ancient Near Eastern cosmology, the seven heavens refer to seven firmaments or physical layers located above the open sky. The concept can be found in ancient Mesopotamian religion, Judaism, Christianity, and Islam. Some traditions complement the seven heavens with an idea of the seven earths or seven underworlds. These heavens or underworlds have been conceived of as realms with deities or celestial bodies (such as the classical planets and fixed stars).

Variants of the seven heavens tradition existed. Ancient Near Eastern cosmology more often described the number of heavens and earths as three, instead of seven. Seven as the number of heavens was the most popular value for Jewish cosmology, but depending on the text, the number ranged from 3 to 365.

The creation of life from clay (or soil, earth, dust, or mud) appears throughout world religions and mythologies, some of the earliest occurring in the creation myths about the origin of man in the cosmology of the ancient Near East. The idea occurs in both biblical cosmology and Quranic cosmology. The clay represents an unformed, chaotic material which is shaped and given form by the gods in a creative process. A related motif is the use of clay to seed or create the world. In southwest Asia, the clay-shaping was cast as a magical act. In the same way that humans would use clay to make terracotta images of their gods, so the gods moulded humans out of clay in their godlike form. They were described as obtaining this material by pinching off pieces of wet mud.

The most famous example of this is in the biblical Book of Genesis (2:7), where Adam is made out of dust, an idea that appears across the Bible (Job 10:9; Psalm 90:3; 104:29; Isaiah 29:16, etc.). The idea is also found in the Epic of Gilgamesh where the goddess Aruru creates Enkidu from clay, in Egyptian mythology where Khmun makes man out of clay, and various Greek texts crediting Prometheus (one of the Titans) with doing the same. Later, the concept would influence art history, such as the impact it had on the work of Giorgio Vasari.