Sumerogram in the context of "LÚ (man Sumerogram)"

Play Trivia Questions online!

or

Skip to study material about Sumerogram in the context of "LÚ (man Sumerogram)"




⭐ Core Definition: Sumerogram

A Sumerogram is the use of a Sumerian cuneiform character or group of characters as an ideogram or logogram rather than a syllabogram in the graphic representation of a language other than Sumerian, such as Akkadian, Eblaite, or Hittite. This type of logogram characterized, to a greater or lesser extent, every adaptation of the original Mesopotamian cuneiform system to a language other than Sumerian. The frequency and intensity of their use varied depending on period, style, and genre. In the same way, a written Akkadian word that is used ideographically to represent a language other than Akkadian (such as Hittite) is known as an Akkadogram.

In the transliteration of ancient texts Sumerograms are normally represented by majuscule letters. Most signs have a number of possible Sumerian sound values. The scribes and readers of texts using these Sumerograms would not necessarily have been aware of the Sumerian language, with the Sumerograms functioning as ideograms or logogram to be substituted in pronunciation by the intended word in the text's language, such as Akkadian.

↓ Menu

👉 Sumerogram in the context of LÚ (man Sumerogram)

The cuneiform sign (𒇽) is the sign used for "man"; its complement is the symbol for woman: šal (𒊩). Cuneiform , (or as rendered in some texts) is found as a Sumerogram in the Epic of Gilgamesh. It also has a common usage in the 1350 BC Amarna letters as the Sumerogram for "man".

In the Epic of Gilgamesh, is only used as the Sumerogram, -(58 times).

↓ Explore More Topics
In this Dossier

Sumerogram in the context of Kur (cuneiform)

The cuneiform kur sign, (in cuneiform: 𒆳; as Sumerogram, KUR), has many uses in both the 14th century BC Amarna letters and the Epic of Gilgamesh. It is routinely and commonly used to spell the Akkadian language word "mātu", for "land", "country"; also possibly "region". In EA 288, a letter from the Abdi-Heba, the Governor of Jerusalem, the kur sign is used eight times.

The alphabetic/syllabic uses and Sumerograms of the 'kur' sign from the Epic of Gilgamesh:

↑ Return to Menu

Sumerogram in the context of Na (cuneiform)

The cuneiform na sign is a common, multi-use sign, a syllabic for na, and an alphabetic sign used for n, or a; it is common in both the Epic of Gilgamesh over hundreds of years, and the 1350 BC Amarna letters. In the Epic of Gilgamesh it also has sumerogramic (capital letter (majuscule)) usage for NA. An example usage for NA in the Epic is for the spelling of NA.GAD, (also .NA.GAD, and the plural .NA.GAD.MEŠ), for Akkadian language "nāqidu", "herdsman". The usage for NA in herdsman is only for 3 spellings.

The commonness of cuneiform na, in the top 25 used signs by Buccellati (Buccellati 1979), (2nd highest usage, exceeded by a: a (cuneiform)) is because of usage for the spelling of a-na (Akkadian language "ana") -, the common preposition spelling for English language: to, for, by, of, at, etc.. It is also a component for the Akkadian language preposition: i-na (ina), meaning: in, into, by, etc..

↑ Return to Menu

Sumerogram in the context of I (cuneiform)

The cuneiform i sign is a common use vowel sign. It can be found in many languages, examples being the Akkadian language of the Epic of Gilgamesh (hundreds of years, parts of millenniums) and the mid 14th-century BC Amarna letters; also the Hittite language-(see table of Hittite cuneiform signs below).

In the Epic of Gilgamesh it also has a minor usage as a sumerogram, I. The usage numbers from the Epic are as follows: i-(698), I-(1).

↑ Return to Menu

Sumerogram in the context of Ri (cuneiform)

The cuneiform Ri sign, or Re, is found in both the 14th-century BC Amarna letters and the Epic of Gilgamesh; it is in the top 25 most used cuneiform signs (Buccellati, 1979) for ri, or re, but has other syllabic or alphabetic uses, as well as the Sumerogram usage for RI (Epic of Gilgamesh).

The ri (cuneiform) sign has the following uses in the Epic of Gilgamesh:

↑ Return to Menu

Sumerogram in the context of A (cuneiform)

The cuneiform sign 𒀀 (DIŠ, DIŠ OVER DIŠ) for a, and in the Epic of Gilgamesh the sumerogram A, Akkadian for , "water", which is used in the Gilgamesh flood myth, Chapter XI of the Epic, or other passages. The sign is also used extensively in the Amarna letters.

Cuneiform a is the most common of the four vowels in the Akkadian language, a, e, i, and u. All vowels can be interchangeable, depending on the scribe, though spellings of Akkadian words in dictionaries, will be formalized, and typically: unstressed, a 'long-vowel', or thirdly, a 'combined' vowel (often spelled with two signs (same vowel, ending the first sign, and starting the next sign), thus combined into the single vowel, â, ê, î, or û.). Cuneiform a is the most common of the four vowels, as can be shown by usage in the Epic of Gilgamesh, the usage numbers being (ú (u, no. 2) is more common than u, (no. 1), which has additional usages, numeral "10", and "and", "but", etc.): a-(1369), e-(327), i-(698), ú-(493). (For u, only: u-(166)); The usage for a, includes the usage for Akkadian a-na, (ana), the preposition, "for", "to", etc., about 250 usages (therefore usage: 1369–250).

↑ Return to Menu

Sumerogram in the context of ARAD (servant Sumerogram)

ARAD, (also ÌR or NITÁ) is the capital letter-(majuscule) Sumerogram for the Akkadian language word "ardu", for servant. It is used especially in the introduction to the Pharaoh: for example "To King, Lord-mine (of Gods(pl)-mine, Sun-god-mine), message thus Xxxxxx, "Servant-yours"-(271). It is also used extensively in Amarna letter texts, the author, usually the "man of a city", (or scribe), where there is a constant reminder that he is a "servant", or "servant-yours"-(of the Pharaoh). Many letters are giving city-state status reports, but many are also requesting help with the Egyptian army troops-(Archers (Egyptian pitati), supplied by the Pharaoh).

↑ Return to Menu

Sumerogram in the context of Meš (cuneiform)

The cuneiform MEŠ, or meš is a plural form attached at the end of Mesopotamian cuneiform words as a suffix. As part of a name (PN, personal name, or other), or major class being referenced, in capital letters (a Sumerogram form), it is typically separated from other capital letter Sumerograms with a period. The name of the group can follow, in lower case letters, for example: (men-massu, Amarna letter EA 365), LÚ.MEŠma-as-sà-meš, (and using a secondary suffix meš, not being typical).

The MEŠ cuneiform is a vertical stroke, followed by three or four angled smaller wedge-strokes. The strokes can also be "not angled", but 45 degree wedges, smaller, or large. For example, Amarna letter EA 161, Aziru to Pharaoh, shows a series of six preparation items listed sequentially. The following wedges (on the meš or Sumerogram .MEŠ wedges, are large, and the scribe has a scribing base line, that follows the vertical stroke, a baseline on which the wedges are placed sequentially. EA 161 shows the baseline 'remainder', extending beyond the last 3rd, or 4th wedge.

↑ Return to Menu

Sumerogram in the context of URU (city Sumerogram)

The cuneiform sign URU is a relatively distinctive sign in the cuneiform sign lists; with its two verticals at the sign's right, and the central long horizontal stroke, it is not easily confused with other signs. It is commonly found in the intrigues of the 14th century BC Amarna letters since the letters often concern city-state locations, or surrounding regions or cities/towns. URU is also used in the Epic of Gilgamesh. The cuneiform sign is almost exclusively used as a Sumerogram (capital letter (majuscule)), and in the Akkadian language, it is the Akkadian for "ālu", city, or town. The usage of URU in the Epic of Gilgamesh is only for Sumerogram "URU", (11 times). All uses in the Epic for URU are for various spellings of ālu, and usually an added sign complement; there is one usage in the Epic of URU for the city Shuruppak: URU.Šu-ri-ip-pak, (Tablet XI 11).

↑ Return to Menu