the other hand, was hardly invoked when one sought absolution of his sins and
redemption in prayers of this kind.^34 This fact suggests that the ancient people turned
to Marduk in hardship probably not because of his power or supreme authority but
because of Marduk’s unfailing compassion as witnessed by Shubshi-meshre-Shakkan
in addition to his role as the divine exorcist under the name Asalluhi.
CULT CENTRE OF MARDUKMarduk’s main cult centre in Babylon was the temple Esagila (‘House whose Top is
High’), with its ziggurat Etemenanki (‘House, the Foundation Platform of Heavens
and Underworld’).^35 We do not know how early the origin of this temple is. However,
with countless rebuilding and restorations, Esagila served not only as the core of
worship of Marduk but also as the centre of intellectual and economic activities over
two millennia until it finally fell into disuse in the third century AD.^36
The German archaeological team headed by R. Koldewey unearthed, although not
entirely, the huge building complex of Esagila which measured about 170 m × 110 m
when complete.^37 The massive structure of Esagila, in addition to other monumental
buildings, such as the ziggurat Etemenanki and the Ishtar-gate, is a manifestation
of the wealth and the importance of Babylon as the capital of Babylonia.
Herodotus ( 183 ) records ‘a great golden image of Zeus (Belus) sitting at a great
golden table’, and the footstool and the chair of gold. According to the Chaldeans,
Herodotus continues, the total amount of the gold was ‘eight hundred talents’ weight’.
This account of Marduk’s temple is not entirely accurate but not far from the truth
either. The ancient temple that dated from the times of Hammurabi had been destroyed
by the Assyrian king Sennacherib ( 704 – 681 ) in 698 BC. Although Esarhadon
( 680 – 669 ), the successor of Sennacherib, had started rebuilding the temple early in
his reign, it seems that the glory of Esagila was fully restored only in the time of
the Chaldean king Nebuchadrezzar II ( 604 – 562 ). In the account of the refurbishment
of Eumusha (‘House of Command’), Marduk’s cella in Esagila,^38 Nebuchadrezzar
claims that ‘I overlaid the furnishings of Esagila with red gold, and the processional
boats with yellow gold and (precious) stones like the stars of the heavens’.^39
The images of the gods played central roles in official cults as well as in private
worship by being involved in different daily rituals, annual ceremonies and festivals,
and occasional religious practices such as exorcism or absolution rituals. The ancients
understood that the cult statues were manifestation of the divine presence. In other
words, in the case of Marduk, the ancients saw his cult statue as the living image of
Marduk himself wherein he was present. Hence, his statue also received the appropriate
treatment – for example, it was clothed with expensive garments and presented with
large food and drinks on a daily basis.^40
Despite Herodotus’ reference to a solid gold statue of ‘Zeus Belus’, (meaning
Marduk), the main cult statue of Marduk was made of a wood overlaid with gold
and inlaid with various precious/semi-precious stones. The Erra Epic^41 refers to the
mesu-tree as the main material of Marduk’s image:
Where is the mesu-tree, the flesh of gods, appropriate to the king of a[ll],
The holly tree, magnificent young man, which is suitable for the
lordship.. .?— The Babylonian god Marduk —