Ram in a Thicket, room 56, longs for escape…..
The Ram in a Thicket is exhibited in Room 56, Mesopotamia. It was found in grave 123 in the great Death Pit of Ur, which lay in Southern Iraq.
Professor Manajata Tadakasu is a manga character created by Hoshino Yukinobu. The story of the Professor explores the disappearance of Stone Henge and a plot involving the endangering of some of the most famous exhibits in the British museum, in a gripping adventure. The drawings (known as genga) are currently exhibited in Room 31
Professor Tadakasu ignored me.
I want to be in his genga!
For god’s sake take me out of this glass!!
Let me join that group of endangered objects under his umbrella.
Get me out of the Ur room
Take me for some sushi or a bento box
Let me feel the good old British rain on my fleece
Loosen up, have a few beers
Do some goat things!
Room 91 sounds like a blast….
Astrid Sutton Sharkey
A tribute to the Ram in a Thicket Room 56, Mesopotamia
“The ram in the statue is more accurately described as a goat. It stands on its forelegs on the branches of a flowering plant. This was one of a pair, found in Ur in 1247 grave 123 In the Great Death Pit. The other is in the University Museum in Philadelphia.
The plant and face of the goat are made of gold leaf. The goat’s ears and fleece on its shoulders are lapis lazuli, while the body fleece is white shell. The base is decorated with a mosaic of shell, red limestone and lapis lazuli. The gold cylinder rising from the goat’s neck indicates that it was a support for something, possibly a small table. The portrayal of animal and plant symbolizes nature and fertility, which were of crucial importance to the Sumerians and feature highly in their religion and art.
The site of Ur lies in Southern Iraq. The ancient city was inhabited as early as the Ubaid period until the 4th century BC. It was highly important economically and politically. Ur was also an important religious centre. A towering temple, or ziggurat, dedicated to the moon god Nanna was constructed by Third Dynasty kings.”
Then I was horny, thorny, musky, frisky.
I stared at you and you stared back
Me, standing on tired hooves eating the last flower on a thorny plant in the middle of nowhere,
Far outside munching distance of the hanging gardens of Babylon.
In your hands I am melded, twisted, gilded.
My fleece fashioned from shells and my dusty shoulders turned to stone.
Next I am a table.
An able table. I symbolise fertility, bring you serendipity.
But you took the pit from serendipity and took me there.
The Death Pit, grave 123.
Dusty again and musty, but never more musky.
Turned in by stone but now not “to”
Ziggurat excluded, tomb included.
You had disintegrated but I was to be excavated,
Levitated, thundered, plundered.
I would be glassed but never surpassed.
I would materialise, they will proselytise, idealise.
No more the real me
Long ago beaten, eaten
I live in my finery
To be stared at by a million million faces.
Astrid Sutton Sharkey