Terracotta plaques of this sort were mass-produced from moulds and represent a form of “mass” art available to ordinary Babylonians. They have been found in temples as well as household shrines in private homes. The subject matter was heavily influenced by the iconographies of Mesopotamian cylinder seals and varies widely from religious images, mythological and erotic scenes, and representations of rulers and gods.
Zoomorphic representations, including birds, sheep, goats, bulls and lions were favoured by Mesopotamian glyphic artists from the Uruk period (circa 3500-3000 BC). Birds, mostly identified as geese or swans, were attributed to a number of deities, including the goddesses Bau and Nanše. Geese and swans, grouped as ‘anserinae’, were associated with fertility, the protectiveness of their young and as protectors of cities. They were a symbol most often connected to women and their multifaceted meaning lent itself well to multifaceted feminine deities. In the Old Babylonian Period, Lilith a demonic aspect of Inanna/Ishtar is often associated with bird like features. Lilith is theorized to be the goddess featured in the famous “Queen of the night” relief, a terracotta plaque date to the Isin-Larsa or Old Babylonian period in the British museum.
