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  E71 - PLAYER OF AULOS - end 2006

Philhelm,PHILHELM-B103 - Seal TARIBA ISHTAR, who will carry the seal will remain in good health.
B103 - Seal TARIBA ISHTAR, who will carry the seal will remain in good health. / Other / 125 x 190 cm - 49,2 x 74,8 inches / 15.330 USD

Description: BABYLONIAN / (Text translated by Google) - The scene is a neo-Assyrian, appeared before an adoring their gods with a present she holds in her right hand, this is a seal-cylinder representing the identical monogram PHILHELM on its six sides. On the other hand, it may be an artificial flower in precious metal. At his feet, totemic symbol of the god MARDUK. Which faces him, taking high the insignia of his power, the red circle and blue stick. In his left hand on another symbol whose meaning escapes me. From his back major emerging stars. The third character is the goddess ISHTAR which radiates a melammű of his whole being. She holds a bouquet in her right hand. In the seven overlays Mesopotamian world (3 bunk heaven earth hell + 3 shots) are from left to right: - A meteor - the crescent of the moon slept with the sun above - three stars in motion - a flying fish - a meteor - the sacred triangle - and a dog sitting with irradiation of planets. The final entry in cuneiform means: "Seal of TARIBA ISHTAR, who will wear the seal (-cylinder) will remain in good health." TARIBA ISHTAR = From the Neo-Babylonian, some characters, especially the kings and some high priests, added the name of a god or goddess to them to assert their divine ancestry, sometimes dating back to the Wise antediluvian, the "APKALLU", creatures half-man, half fish. Regarding TARIBA ISHTAR it is very possible that he was a great eunuch (Issar = eunuch). MARDUK = Quoted in the Bible under the name of BEL and MERODACH in the Old Testament. God's tutelary city of Babylon, but first the land God. ISHTAR = Goddess supreme among Babylonians, Sumerians or INANNA in lez, sometimes regarded as the daughter of the God of rain, best known as the goddess of love free, she debased then killed her lovers after use (Epic of GILGAMESH). Every new year, the sovereign was obliged to "marry" one of the priestesses of the goddess, to ensure soil fertility and fecundity. This ritual called "sacred marriage or sacred marriage" was particularly widespread in the late third millennium. MELAMMU = An unearthly glow emanating from asset and only one god and that radiates out like a jewel and is directly proportional to the power of divinity from which it originates and vitality he brought to light intensity. And until the word of God that shines in this radiation. Like everything that is sacred and holy splendor is quite fascinating, but also unbearable to be terrifying. The metaphysical level, the deity is felt as a phenomenon inspiring both respect and fear. This brightness is opposed to chaos and disorder that characterize the darkness and silence, because the brightness has antonym for the words and the concept of sleep, immobility and silence: it is both the sign and instrument power and sovereignty.

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Artist Information:
Name   : PHILHELM Philhelm
Location: STRASBOURG  
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In actual fact, I want to tell you without misrepresentation, the whole story of Philhelm, which begins in Alsace (It was still a Germanic country and will become French only in 1678!) in the castle of Lichtenberg, on April 23rd 1616, when the seven-year-old Balthasar Helmlinger, loses the Monogram of his eponymy descendant. This ordinary but nevertheless very serious incident in the distant past will set in motion the artistic calling of one of his descendants, ten generations later! This contemporary painter, born in Strasbourg in 1943, has only exhibited his work twice in his life (1999 and 2001) and only at the "International Biennial Event of Contemporary Art of Florence" which awarded him in 1999 the Prize of the City of Florence. So that the ordinary people be completely disorientated, so that it will let the story of the past enter him torpidly, by going back the furthermost possible or else it will never pierce the heart of his paintings, to seek there the secret causes of things.
Philhelm declines the colors in a correspondence with the images and original writings to a small history of the past, in wich his monogram was always present as an archetype. This revival for a few years, he has tried to reveal it because the Gods came one day to its meeting ! They deigned to present him their messengers like a hero accompanied with their sphinges : Let them forgive him, if he dares to quote them in the enjoyement of his heart, even if he put no bad shame to ask them for grace. If he tries to make reappear by its legends, some bits of a lost knowledge, and really immortal and sacred, he owes it only with work of fort many archaeologists and historians. He makes no vanity of his work. If he had his whole life, believe not produce anything good and beautiful, he feels no less real joy and deep taste that he recognizes and admires beautiful and great at others, had they been Etruscan, Cretan, Assyrian or Sumerian ?

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