What is the Sumerian Plaque?
The Sumerian Plaque is a finely crafted limestone relief dating back to around 2400 BCE, during the Early Dynastic III period of ancient Mesopotamia. Originating from southern Iraq, this object was once part of a larger votive wall plaque used within a Sumerian temple. Its purpose appears to have been both decorative and functional. Archaeologists believe that such plaques were attached to temple walls near doorways, possibly serving a practical role by anchoring a rope tied to the door, thus securing it closed. A central peg is visible in the plaque, supporting this interpretation.
The carving is done in low relief and depicts a figure of high status—likely a ruler, priest, or another elite individual. He is portrayed seated on a detailed, patterned stool, dressed in a kaunakes, a typical Sumerian long skirt made of tufted or woolen material. In his raised right hand, the man holds a ceremonial goblet, possibly part of a ritual offering. In his left hand, which rests on his lap, he carries a palm frond—a symbol that may relate to fertility, ritual, or authority. The figure is clean-shaven and calm, emblematic of Sumerian depictions of dignitaries or temple functionaries. Such images were designed to demonstrate power, piety, and social order.
Discovery and Provenance
Unfortunately, the plaque’s original archaeological context has been lost. It surfaced on the art market in London in 2019, prompting an investigation by the Art and Antiques Unit of the Metropolitan Police. The plaque was allegedly part of a private collection established in the 1990s, but its exact provenance remains unclear.
Despite this, stylistic and technical analysis by experts at the British Museum has helped narrow down its possible origins. It bears strong resemblance to other known plaques from the Sumerian heartland, particularly those uncovered at the site of Tello (ancient Girsu), a major Sumerian city. This location suffered significant looting between 1994 and 2003, especially within its religious precincts, which makes it a plausible source for the artifact.
Artistic and Cultural Significance
Only around 50 plaques of this type are currently known to exist, making them rare and valuable sources of information about Sumerian religious life and temple art. These artifacts have been uncovered at major Mesopotamian city-states, including Ur, Nippur, Khafajah, and Mari, which were key centers of political and religious activity during the Early Dynastic period.
The plaque’s iconography and craftsmanship place it squarely within the sophisticated visual language of southern Mesopotamia. These plaques likely served votive or ceremonial purposes, perhaps commissioned by elite individuals or temple patrons to demonstrate devotion to the gods or commemorate ritual events. Their placement near doorways could have had symbolic meaning as well, acting as guardians or intercessors between sacred and secular spaces.
Challenges and Potential for Future Research
While the plaque is a valuable piece of Sumerian art, the fact that it was looted means that scholars have been deprived of the contextual data that is critical to fully understanding such objects—information such as the surrounding architecture, associated artifacts, and stratigraphy. These contextual clues would have provided insight into how the plaque functioned within the temple environment and what rituals it might have been connected to.
Nevertheless, its suspected link to Tello/Girsu provides a glimmer of hope. Excavations are ongoing at the site, and future discoveries may uncover matching fragments or similar plaques in situ. If parts of this plaque are recovered during these excavations, they may offer a more complete picture of its original form and purpose.
Conclusion
The Sumerian Plaque stands as a remarkable example of Early Dynastic III temple art. Though removed from its original context through looting, its fine craftsmanship, iconography, and likely origins in the urban centers of ancient Iraq render it an important artifact. As more discoveries are made at sites like Girsu, we may continue to piece together the rich tapestry of Mesopotamian religious and artistic traditions, of which this plaque was once a proud part.
