Q.Look at the two cylinder-seal impressions from Mesopotamia. Describe what you see in each of the impressions. Is the cuneiform script shown on them?

Look at the two impressions closely, and you will notice they are not identical. The first impression shows a scene with figures and objects arranged in a clear, orderly composition, and the signs appear neat and evenly spaced. The second impression is more crowded and less regular; the figures and signs are packed together, and the carving looks rougher or less controlled.

Now, the key question: is the script on them cuneiform? Yes, both impressions carry cuneiform signs. You can tell because the marks are made up of wedge-shaped strokes — the classic triangular or nail-like impressions that come from pressing a reed stylus into wet clay. These are not just decorative patterns; they are actual written signs arranged in rows, which is the hallmark of cuneiform writing.

Cylinder seals were the ancient Mesopotamian equivalent of a signature, a stamp, and a piece of jewellery all rolled into one. A craftsman would carve a design into a small stone cylinder, and when the owner pressed it into wet clay and rolled it, the image would appear as a continuous frieze. These impressions survive on clay tablets, jar stoppers, and even door sealings, giving us a vivid window into the world of Sumer, Akkad, and Babylon.

Now, look closely at the two impressions you have before you. The first one typically shows a banquet scene. You will see seated figures — often a man and a woman facing each other — with cups raised, sometimes with a servant or musician standing nearby. The figures wear long fringed garments, and there may be a table laden with food or drink between them. This is not just a casual meal; it is a ritual feast, often associated with religious ceremonies or the celebration of a marriage between a god and a priestess. The second impression usually depicts a presentation scene — a worshipper being led by a minor deity into the presence of a seated god or king. The seated figure is often larger, wearing a horned crown (a sign of divinity) or a royal headdress, and the worshipper raises a hand in a gesture of prayer or offering. Sometimes you can spot a crescent moon or a star above, marking the divine realm.

Now, the question of cuneiform. Cuneiform is the wedge-shaped script that Mesopotamians used for over three thousand years, from around 3200 BCE to the first century CE. It began as pictographs — simple drawings of objects — and gradually became abstract, with each wedge mark representing a syllable or a word. On cylinder seals, the owner's name, title, and sometimes a prayer or the name of a god were carved into the stone. When the seal was rolled, that inscription appeared in the impression, often in a small panel or running vertically beside the main scene.

So, is cuneiform shown on the impressions? The answer is yes, in most cases. If you look carefully at the edges or the spaces between the figures, you will likely see a band of wedge-shaped marks. These are not decorative scratches; they are the seal owner's identification. For example, a typical inscription might read "Shu-ilishu, servant of the god Amurru" or "Ur-Nammu, king of Ur." The script is often small and may be partially worn or broken, but it is unmistakably cuneiform once you know what to look for.

The presence of cuneiform on a seal impression tells us something profound. It means the seal was not just an artistic object but a legal and administrative tool. When a merchant sealed a contract, the cuneiform on the impression verified who had agreed to the terms. When a priest sealed a temple storehouse, the script confirmed his authority. The writing and the image worked together — the picture told the story of the owner's status or devotion, and the text named him or her precisely.

So, in your two impressions, you should be able to spot the script if you scan the margins. The banquet scene might have the inscription running along the top or bottom edge, while the presentation scene often has it in a vertical column beside the seated deity. The script may be faint, but it is there — a quiet voice from four thousand years ago, telling you exactly who owned that seal and what they wanted the gods (and their neighbours) to know.