This article explores the vegetal dimension of Mesopotamian cult statues through the mīs pî ritual, the mouth-washing ceremony by which divine images were activated, and transformed into the earthly bodies of gods. The analysis centres on the incantation “As you come out from the forest,” which presents the statue’s wood as originating from pure and sacralised landscapes such as forests, mountains, orchards, riverbanks, seas, and marshes. These places, together with the intervention of Enki/Ea and divine craftsmen, establish the wood as an extraordinary material, suitable for receiving divine presence. Particular attention is also given to the mēsu-tree, described as the “flesh of the gods,” and to the tamarisk, associated with purification and divine corporeality. The article concludes that the statue’s vegetal components were not divine in themselves. Rather, their purity had to be ritually restored and protected so that the crafted image could become a living vessel for the deity.
“As you come out from the forest”: The plant body of the gods in the mīs pî ritual / Ceravolo, Marinella. - (2026), pp. 211-225. - WEDGE.
“As you come out from the forest”: The plant body of the gods in the mīs pî ritual
Marinella Ceravolo
2026
Abstract
This article explores the vegetal dimension of Mesopotamian cult statues through the mīs pî ritual, the mouth-washing ceremony by which divine images were activated, and transformed into the earthly bodies of gods. The analysis centres on the incantation “As you come out from the forest,” which presents the statue’s wood as originating from pure and sacralised landscapes such as forests, mountains, orchards, riverbanks, seas, and marshes. These places, together with the intervention of Enki/Ea and divine craftsmen, establish the wood as an extraordinary material, suitable for receiving divine presence. Particular attention is also given to the mēsu-tree, described as the “flesh of the gods,” and to the tamarisk, associated with purification and divine corporeality. The article concludes that the statue’s vegetal components were not divine in themselves. Rather, their purity had to be ritually restored and protected so that the crafted image could become a living vessel for the deity.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.


