(from) Akkadian syllabary | (to) Hebrew symbolism — part II

As promised, our voyage into this subject is far from over! This post is a continuation of a previous post I wrote over the summer. Consider reading Part I before you proceed with my blatherings below.
BET-Sumerian|Semitic_01I recently found a credible resource that contains a cohesive list of Sumerian pictograms. It lists [figure 3a.] under E(scroll down to the letter ‘E’; “E2″ is the third entry). In this link, E2 is defined as ‘household’ (if you don’t feel like scrolling, searching, and clicking, you can find the definition directly [here]). Although both pages in the links I provided are found in The Electronic Text Corpus of Sumerian Literature (ETCSL), I am still relieved to see consistency in both pages, and the database it easy for me to understand.  I was beginning to doubt the pages of text by Budge, but the ETCSL confirms (to me) his rendition to be valid and gives me a more thorough insight that the sign is indeed closer to late Sumerian rather than Akkadian — scroll to E2.

What boggles me is, how do we vocalise E2? How is it even pronounced?!
Is it: “Eh, subscript 2”?, or: “EEEE!”?!.  I need a scholar of Sumerian literature to clarify this for me — I’m surprised that “e” means ‘house’ in Sumerian.

Ok, enough with Sumerian for now. Let’s move on to Akkadian!

In this page, one can find a rich resource of Akkadian (including both Babylonian and Assyrian phases of the language) scriptures and linguistics. Scroll down to segment 5.3 on Phonetic Complements, and we are fortunate to see that [figure 4] is used in an example, and is defined as ‘house’. We are even given more detail of the Sumerian variant which is pronounced as “e”, and not “bitum”. Furthermore, it lightly explains the evolution to the logogram (then, the phonogram) features of the later Akkadian (Old Babylonian), from the former pictographic elements of the same reference (i.e., ‘house’) in the older Sumero-Akkadian.  It’s confusing and gets more confusing as you read into it, but in the end, everything begins making sense.

Let us now see a third source: the Assyrian dictionary (also claims to be late Akkadian). The same sign and the same pronunciation for the reference ‘house’ is given.

There are numerous resources for learning Neo-Babylonian syllabary. Here is one by the University of Helsinki’s “Introduction to the Babylonian Language” course. The chart organises chunks of syllables that exist in the language, either by consonant + vowel or vowel + consonant. Find “bi” and “tu” on the chart, and you’ve got two syllables that together denote ‘house’, as demonstrated on [figure 5]. I often find that once I have learned a Neo-Babylonian word and its definition, I break it up into syllables (C+V or V+C), and I match it up to the chart. I write it down, and I check as many sources as possible to verify whether the written form I have is the correct written form of the word.

Now we can be certain of the signs I have illustrated in the second image. When I find more time, I will try to see the connection between figures 3a, 4, and 5. How did [figure 4] result in [5]? The “bi” syllable in [figure 5] looks like it could have been borrowed from the front end of the logogram for “bitum” in [figure 4] (yes, Cuneiform is written left to right!), but I am sure if we found another Old-Assyrian word that begins with “bi”, the logogram wouldn’t necessarily have the same front end (those double arrows).

For example, if an Assyrian scribe from 1500 BCE were to have separated the double arrows of the logogram “bitum” from the four standing wedges, the double arrows would not be read as “bi” — when the two forms separated, the logogram is meaningless. The phonogram writing method of the Neo-Babylonians is closer to most modern Western alphabets, regardless of script. It relies on combinations of sounds, which makes learning it easier, and more practical for newer words into a phonetic language to be introduced and have a written phonetic form.

Once I learn more about the evolution between Old-Assyrian logograms to Neo-Babylonian phonograms, and if there is a connection we can see, I will dedicate a few posts to that. I’ll try to make it an interesting read! Since I am now familiar with enough online/printed resources and these specific Cuneiform signs, I will soon have to flee this nest (*cough*house*cough*) of safety I’ve constructed, and onto more  challenging Cuneiform signs. Wish me luck.

The OttoMON-STER Upstairs II

ottomonster-upstairs_01 …
The second to last frame marks the end of long-held antagonism between Kuli and Sarg. Kuli recognises Sarg as a fellow “roomie”, which is a step towards progress since it affirms that Sargon does indeed rightfully live within the bounds of Heidar’s apartment (i.e., Iraq/Mesopotamia).

Much like Iraq and Syria have seen a sharp increase of turmoil in the past several years, we must also acknowledge that the disagreements between ethnic groups and communities in these regions that seemed major at the time, are insignificant today. There are much larger threats—threats that may destroy us all. The roots of these major threats must first be vanquished before we can, once again, focus on solving our smaller issues/regional disputes. If we are strong, we will survive.
The time for us, humanity, to unite and fight against ISIS and its legions is urgent. URGENT.


Important Notice: I will try to continue publishing 6 panels per week as a part of this never-ending narrative series. That said, this is just the beginning. I promise to show Temür’s good side in future episodes. He may seem like a true villain if you consider this my final piece, but believe me — there is more to be seen!



I illustrated this 3-piece poster in the first week of April 2015, mainly to promote the diversity of Yemen. When the 3 pieces are combined, it creates the full 6″ by 15″ scene.

At that point in time, Yemen had faced two weeks of non-stop bombing and airstrikes from saudi arabia. It is now early September, and the bombing continues.


Here is my original caption:
In recent weeks, Yemen has been in a state of anarchy, following decades of political instability and poverty since the 1962 revolution. For over 2 weeks now, Saudi Arabia has been launching deadly airstrikes over Yemen, killing over 100 civilians. The death toll of civilians and “rebels” will continue to rise until the saudi invasion ends…until saudi decides to give a damn about justice and Human rights.

#KefayaWar (“enough” war) is trending on social media by those protesting the violence of foreign intervention. It demonstrates the devastation faced by Yemenites who have lost their homes or family members by drones in the past several years, or in more recent airstrikes, whilst simultaneously sharing the beauty of this fertile mountain city (Sana’a), and the strength and resilience of the Yemeni civilians.

This piece venerates the diversity of Yemen, dating back to the Jewish presence that prevailed back in the Himyarite era. It is a nostalgic scene, but flickers hope for a brighter future in Yemen.

7 months later, the bombing has intensified and will continue.
EDIT (28/09/2015)
In the last scene, you will notice I included some, erm, calligraffiti on the building. From top to bottom, it reads shlama in the Eastern Syriac (Madankhaya) script, shalom in Modern Hebrew script, and salam in Arabic script. Given Sana’a’s geographic location and influences, it would’ve made MUCH more sense to include Sabaean script, or even Amharic or G’eez script, rather than East Syriac. Or maybe I could’ve used West Syriac, or even Nabatean, rather than East Syriac. Although, I am not yet familiar enough with Sabaean or Amharic, I will have to revise this last piece and upload again!