I have recently been looking for content which might be more cultured than just interesting news, tech, and feature. I’d say that this might be it.
The Stele of Vultures, fragments of which lay safe in the Louvre Museum of Paris, France, is a legacy to the Sumerian civilization of historical era 4000-500 BC (in circa terms). Lost archeological tablets, like this one, from Sumer, later and in recent centuries found, of course, point the direction for scientists and historians alike to determine what may have been the truth of mankind’s civilized, pagan past. Sumer is considered the place of possibly the oldest civilization in Mesopotamia, rivaling biblical history or at least competing with the place in which the Story of Job took place.
Here is some text from Wikipedia on the Stele of Vultures.
The stele is not complete. Only seven fragments are known today.
The first three fragments were found during excavations in the early 1880s by the French archaeologist Ernest de Sarzec at the archaeological site of Tello, ancient Girsu, in what is today southern Iraq.
Another three fragments came to light during the excavations of 1888-1889.
A seventh fragment, which was later determined to be part of the Stele of the Vultures and thought to have come from Tello, was acquired on the antiquities market by the British Museum in 1898. While two initial requests to hand this fragment over to the Louvre were denied by the British Museum, it was eventually given to them in 1932 so that it could be incorporated in the reconstructed stele together with the other fragments.
The stele can be placed in a tradition of mid-to late-third millennium BC southern Mesopotamia in which military victories are celebrated on stone monuments. A similar monument is the Victory Stele of Naram-Sin, created during the Akkadian period that followed on the Early Dynastic III period.
The two sides of the stele show distinctly different scenes and have therefore been interpreted as a mythological side and a historical side. The mythological side is divided into two registers.
The upper, larger register shows a large male figure holding a mace in his right hand and an anzu or lion-headed eagle in his left hand. The anzu identifies the figure as the god Ningirsu. Below the anzu is a large net filled with the bodies of naked men. Behind Ningirsu stands a smaller female figure wearing a horned headband and with maces protruding from her shoulders. These characteristics allow the figure to be identified as the goddess Ninhursag. The lower, smaller register is very badly preserved but, based on comparisons with contemporary depictions, it has been suggested that it depicted the god Ningirsu standing on a chariot drawn by mythological animals.
The inscriptions on the stele are badly preserved. They fill the negative spaces in the scenes and run continuously from one side to the other. The text is written in Sumerian cuneiform script. From these inscriptions, it is known that the stele was commissioned by Eannatum, an ensi or ruler of Lagash around 2460 BC. On it, he describes a conflict with Umma over Gu-Edin, a tract of agricultural land located between the two city-states. The conflict ends in a battle in which Eannatum, described as the beloved of the god Ningirsu, triumphs over Umma. After the battle, the leader of Umma swears that he will not transgress into the territory of Lagash again upon penalty of divine punishment.