Spotlight on Art
The Striding Dragon
By Adhid Miri, PhD
Mesopotamia—largely situated in present-day Iraq—is considered the cradle of civilization. It is home to many historical “firsts” and the birthplace of philosophy, religion, and mythology. Among its most iconic symbols is the striding dragon featured on the Ishtar Gate.
At the Chaldean Community Foundation in Sterling Heights, visitors are greeted by artistic panels that pay homage to this rich heritage. The building’s walls display Babylonian, Akkadian, and Sumerian imagery, including depictions of the Lion of Babylon, the Tree of Life, the Ishtar Gate, and portraits of ancient thinkers and scholars. These works are more than decorative; they serve as reminders of the region’s deep historical roots and the pride the Chaldean community holds in its cultural origins—despite the geographical distance from Mesopotamia.
Among these prominent artworks stands Sirrush, also known as Mushu Khoshu, a dragon of legend with deep connections to mythology, Mesopotamian identity, and the Iraqi vernacular.
Mushu Khoshu: The Striding Dragon
Sirrush—also known as Mushu Khoshu, Musushu, or Mushu—is a fearsome creature from ancient Mesopotamian mythology and a symbol of Babylon. Often described as an angry, fiery-red dragon or serpent, Mushu Khoshu was one of the chaotic beasts created by the goddess Tiamat to battle the younger gods in the Babylonian creation myth. After defeating Tiamat, the god Marduk claimed Mushu Khoshu as both follower and emblem.
Believed to be one of the earliest dragon depictions in human history, the figure of Mushu Khoshu is immortalized in glazed brick on the Ishtar Gate. The dragon’s name is rooted in Akkadian: Mush means “snake” and Khoshu means “great,” sometimes translated as “violent serpent.” The word survives in the Iraqi dialect in expressions like Mo Khosh, typically uttered when reacting to bad news or fearing misfortune.
Description and Significance
Mushu Khoshu is depicted with a long, horned neck and a serpentine head with a protruding tongue. Its scaly body resembles that of a snake or crocodile, with lion-like forelegs and eagle-like hind legs, capped by a tail ending in a scorpion stinger. This hybrid form reflects all three earthly elements—land, air, and water:
• The torso evokes a snake or alligator.
• The hind legs resemble an eagle’s talons.
• The forelegs and tail mirror a lion’s strength.
• The long neck and horned head symbolize majesty and vigilance.
• The serpent-like tongue suggests insight and intelligence.
According to Babylonian belief, blue was the color of the gods, mirroring the sky and rivers. Mushu Khoshu, often glazed in blue or gold, served as a guardian figure, warding off evil from the city gates—much like the Assyrian winged bulls in the north.
Dragons in Mesopotamian Mythology
Another prominent myth speaks of Labu, a monstrous dragon that emerged from the water to destroy the achievements of mankind. Only after divine intervention was the creature vanquished. This story reflects themes common in Mesopotamian myth: chaos rising from the primal waters, threatening cosmic order.
Enlil, the god of wind and storms, devised the plan to defeat Labu. He etched the dragon’s image across the heavens, a celestial reminder of the battle that shaped the universe. Labu, like Mushu Khoshu, is often interpreted as a symbol of the unconscious—forces buried deep within the human psyche.
Mo and Mo Khosh in the Iraqi Dialect
In the Iraqi dialect, the phrase Mo Khosh or Ma Khosh is commonly used to express objection, concern, or disapproval. Iraqis might say Mo Khosh story when reacting to gossip, Mo Khosh news when hearing of a tragic event, or Mo Khosh disaster in the face of a real or anticipated crisis.
The word Mo (also Mu) traces back to ancient Sumerian—specifically, to a verbal sentence marker used to start most Sumerian clauses. While much of the Sumerian vocabulary has vanished, Mu has persisted. In fact, no Sumerian verbal sentence could be complete without it.
Over time, Mo became embedded in Babylonian, influenced by mythology and religion. Some scholars believe the word connects to the mythic dragon Mushu Khoshu, the sacred beast of Marduk, the chief Babylonian god. This dragon also appears in depictions of Nabu, the god of wisdom and writing, often shown riding the creature—making Mo not only a linguistic remnant but also a mythical one.
In Classical Syriac, Mu translates as “what,” “how much,” or “is.” It is still used in modern forms across the region—in Turkish, Syrian, and Gulf dialects—and remains deeply embedded in Iraqi Arabic. Its functions vary widely, including:
The Word “Khosh”
Khosh is a uniquely Iraqi word that means “good,” “excellent,” “nice,” or “wonderful.” It’s often used to describe people, things, experiences, or even food. Though its roots may be found in Urdu or Persian (where Khosh also means “good” or “pleasant”), the word has taken on a distinct identity in Iraqi Arabic.
Unlike other Arabic dialects—where words like kuwayyis (Egyptian) or mneeH (Levantine) are used—Iraqis say Khosh. It’s widely used in the Gulf as well and has flexible meanings depending on the tone and context.
One example of Khosh and Mo Khosh usage can be heard in the classic Iraqi song “Ya Ammu, Ba’i’ il-Ward” (“Uncle, the Rose Seller”), where the expressions punctuate mood and meaning in poetic dialogue.
Khosh and Mo are more than just words in Iraqi Arabic. They’re tools for storytelling, expression, and emotion—bridging ancient linguistic roots with vibrant modern life.
Cultural Influence and Modern Echoes
Mesopotamian mythology continues to influence popular culture today. Its themes appear in religious texts, literature, and media:
Star Trek: The Next Generation episode “Darmok” references the Epic of Gilgamesh.
Ghostbusters draws inspiration for its malevolent gods from Mesopotamian myths.
Emily R. King’s The Hundredth Queen series incorporates Mesopotamian lore.
Biblical scripture reflects narrative patterns found in earlier Sumerian texts
Looking Ahead: Art at the CCF West Bloomfield
The Chaldean Community Foundation will soon unveil its new building in West Bloomfield, which will feature more Mesopotamian art and historical exhibits. In our next issue of Chaldean News, we’ll explore this new cultural space and share more stories that highlight the artistic legacy of Mesopotamia.
Sources: The Civilization of Babylon and Assyria (Gustave Le Bon), A Brief History of Ancient Iraq, Writer and historian Ahmed Lafta, Dr. Fares Al-Husseini (amateur archaeologist), The Adventure of the Primordial Mind – A Study in Myth (Part Two), Iraqi Qafqaf Rescue website, Wikipedia.