For Sumer see:
http://www.crystalinks.com/sumerart.html, quoting the Encyclopedia Britannica
Harvard University Slide Carousel for Ancient Near Eastern Studies 102
http://www.courses.fas.harvard.edu/cgi-bin/imagebase/carousel?name=ane102:

For Egypt, see
"The Hutchinson Family Encyclopedia", http://ebooks.whsmithonline.co.uk/htmldata/ency.asp?mainpage
"The Detroit Institute of Arts", http://www.dia.org/collections/ancient/egypt/egypt.html;
"The Metropolitan Museum of Art", http://www.metmuseum.org/explore/newegypt/htm/th_frame.htm;
"Egyptian Art: The Mysterious Lure of an Old Friend", Michael Kimmelman, September 17, 1999, http://www.library.cornell.edu/colldev/mideast/egpart.htm.

Id. at 67. Schneider adds a fifth volume, representing the "heavens", out of which the four elements "of the earth" evolve. The Platonic solids are the only geometric volumes that manifest equality in all directions: "Heaven" is the Dodecahedron, with a pentagon-shaped face, 12 faces, 30 edges, 20 corners; "Fire" is the Tetrahedron, with a triangle-shaped face, 4 faces, 6 edges, 4 corners; "Air" is the Octahedron, with a triangle-shaped face, 8 faces, 12 edges, 6 corners; "Water" is the Icosahedron, with a triangle-shaped face, 20 faces, 30 edges, 12 corners; and "Earth" is the Hexahedron (cube), with a square-shaped face, 6 faces, 12 edges, 8 corners. While this is not a subject of this paper, it should be noted that the faces of these forms are all either triangles, squares, or pentagons, that is, 3, 4, or 5.

Pascal Romain noted in "Representations of Boardgames in the Ancient Near East and Their Significance", Board Game Studies, Issue 3, that the game of 20-squares is based on the Sumerian numerical system of 60. Multiplying 3 x 4 x 5 = 60. Buddhist symbols and iconography follow the arrangement of four basic "elements" plus a fifth, the ethereal sphere. See "Buddhist Symbols-Iconography", from Buddhist History and Culture, http://www.buddhanet.net/history/stupa2.htm.

For an explanation of the development of mankala and geomancy in connection with the grid/square see "Board Games and Divination in Global Cultural History, a Theoretical, Comparative and Historical Perspective on Mankala and Geomancy in Africa and Asia", by Wim van Binsbergen, http://www.geocities.com/Athens/Atrium/2327/gen3/mankala/mankala1.html.

See, e.g., "Ishtar-Innana Altar", http://www.spiralgoddess.com/Inanna.html; "The Saturn Theory", E. Cochrane, Figures 7-10, http://www.users.qwest.net/~mcochrane/The_Saturn_Theory/the_saturn_theory.html;

"The Eight Pointed Rosette Star of Inanna: Some Numerological Significances,", Chandra Alexandre, 1999, (http://www.maabatakali.org/inanna.htm.

"The Royal Game of Ur and Tau", by James Masters, http://web.ukonline.co.uk/james.masters/TraditionalGames/RoyalGameOfUr.htm. "The Sumerian boards appear to be the ancestors of boards found at Egyptian sites which are 1500 years younger and on which the Egyptian Game of Twenty Squares was played, presumably in a similar fashion. The boards sometimes came in the form of a box inside which the pieces were held - often these boards had a different gaming pattern on the reverse side - usually a Senet board. The pattern for the game is similar to that of "Ur" - at one end a block of 4 x 3 squares lies and then extending from the middle of one side of 3, lies a row of 8 more squares. It is as if the Egyptians moved the 2 blocks of 2 squares on either side at the other end from the edge to the middle row. The 3 rosettes are found in the same places on the 4 x 3 block with another at the far end of the "handle" and a fifth positioned centrally between the other 2 rosettes on the middle row.";

"The Game of Ur", by Dagonell the Juggler and Shahira bint Al-Sammad, http://www-cs.canisius.edu/~salley/Articles/ur.html;

"The Royal Game of Ur", by Catherine Soubeyrand, http://www.gamecabinet.com/history/Ur.html;

"Il Gioco Reale di Ur", copyright © 2000 Editrice Giochi S.P.A. Tutti i diritti riservati; é vietata la riproduzione anche parziale, http://www.editricegiochi.it/enciclopedia/Ur.htm.

15 "Encyclopedia.com", http://www.encyclopedia.com/articlesnew/06494.html; "The Goddess Ishtar", http://inanna.virtualave.net/ishtar.html;

"Astarte", History of Women Through Art, http://www.wic.org/artwork/astarte.htm (if that doesn't work, go to home link, http://www.wic.org/artwork/idex_art.htm, scroll down and click on "Astarte");

see also "The Serpent of Wisdom", Don Cardoza, http://www.angelfire.com/nt/dragon9/SERPENT2.html.

"Near East Realm", http://inanna.virtualave.net/neareast.html; "Insight on the Scriptures", Watch Tower Bible and Tract Society of Pennsylvania/International Bible Students Association, © Watchtower Bible and Tract Society of New York, Inc./International Bible Students Association, Brooklyn, New York USA, 1988, Vol. 1, pg. 193, Vol. 2, p. 835: "The sacred poles [of Asherah] apparently stood upright ... [and may have been] perhaps even trees in some instances...

" See also WebBible Encyclopedia, http://www.christiananswers.net/dictionary/asherah.html.

"The Continuum Encyclopedia of Symbols", Udo Becker, 1994, from Symbolism and Iconography of the Serpent, Reptilian Research Archives, hosted by David Icke E-Magazine, donated by L. Savage, http://reptile.users2.50megs.com/research/r082100c.html;

"The Divine Serpent in Myth and Legend", by Robert T. Mason, Ph.D., D.D., ©1999, http://www.geocities.com/Athens/Delphi/5789/serpent.htm;

"The Serpent of Wisdom", Don Cardoza, http://www.angelfire.com/nt/dragon9/SERPENT2.html.

"Numerics and Geography of Gilgamesh Travels", Emilio Spedicato, http://www.dipmat.unipg.it/~bartocci/spedic1.html;

"The Art of Ancient Iran; Pre-Islamic Culture", by Edith Porado, Columbia University, with the collaboration of R.H. Dyson and contributions by C.K. Wilkinson, Crown Publishers, Inc., New York, 1962, http://www.cais-soas.co.uk/poradaindex.htm;

"Museo Nazionale d'Arte Orientale in Rome", http://www.cloudband.com/frames.mhtml/magazine/articles3q01/mos_salviati_orientalrome_0801.html;

"Seals from the Near East and Contacts with Saravati Sindhu Valley", Robert H. Brunswig, Jr., Asko Parpola, and Daniel Potts, http://www.hindunet.org/hindu_history/sarasvati/neareastseals/seals_from_the_near_east_and_con.htm;

China Daily, "New findings show earlier human contact", 08/13/201, http://www1.chinadaily.com.cn/news/cn/2001-08-13/26240.html: "More than a dozen heads of maces dating back to between 3,000 and 5,000 years have been discovered in Northwest China. The maces, extremely similar to those used by kings of ancient Egypt, were recently unearthed by archaeologists. ... The oldest of the mace-heads found in Gansu, Shaanxi and Xinjiang in Northwest China, date back to 5,500 years ago, judging from the stratum of the relic site and the type of remains. 'Many experts shared the view that the mace-heads were not a product of the ancient Chinese civilization, but were transported from the West,' said Li [Shuicheng, professor from the Archaeological Department of Peking University]"

See, e.g., "The Eight-Pointed Rosette Star of Inanna: Some Numerological Significances", Chandra Alexandre, 1999, http://www.maabatakali.org/inanna.htm, wherein she compares Inanna with the goddess Kali. Alexandre parallels the eight-point rosette (the "star" of the planet Venus) associated with Inanna, with the eight-petalled lotus associated with Kali. There is also a strong parallel between the eight-petalled lotus of Kali in the east and the lotus icon of the ancient Egyptian mother goddess in the west, personified in Hathor. See, for example, http://www.duke.edu/~jls26/egypt.html: Hathor was an Egyptian mother-goddess and is also seen in depictions of scenes related to birth and child care. One of Hathor's titles is "the Eye of Ra," linking her to the Cobra goddess Wadjet. "The 18th Dynasty bowl" [Figure 13] "is an example of a distinct type of votive offering to Hathor. Imagery on this bowl alluding to fertility includes the lotus and fish motifs (Friedman 1998: 211). The closing and opening of the lotus during its night and day cycle indicated the renewal of life and is a common theme in tomb decoration. The tilapia fish guards its young in its mouth (Friedman 1998: 211) and may have represented protection of the young." See also Note 34. The fish/lotus icon is well known from Egyptian tomb paintings. See, for example, the lotus (representing renewal/rebirth) in this depiction from the Tomb of Sennefer, http://www.wsu.edu:8000/wciv/b/bb/bbt/bbt99.jpg;

see also http://www.wsu.edu/~wldciv/brians_syllabus/5.html; the lotus as part of the deceased lady's headdress, http://www.wsu.edu:8000/wciv/b/bb/bbn/bbn25.jpg; the tall white conical-shaped crown of Upper Egypt was a representation of the lotus, http://www.kent.wednet.edu/curriculum/soc_studies/Egypt/pap_lot.html;

"Rediscover Ancient Egypt", Tehuti Research Foundation, http://www.egypt-tehuti.org/tombs.html; and many more.

See also Figure 14, Astarte/Ashtoreth, gold plaque from Lachish. 13th century BCE, (Israel Museum, Jerusalem), from "Eve and the Identity of Women", by L.C.E. Witcombe, http://witcombe.sbc.edu/eve-women/6womenevil.html, where Astarte/Ashtoreth, standing naked upon the back of a horse, holds lotus-blossom standards in both hands.

"Bad Timing", by Abraham Levy, Biblical Archaeology Review, July/August 1998, http://www.bib-arch.org/barja98/levy.html. The article notes that even though Mehen was no longer played in Egypt Mehen boards have been found in Lebanon, Syria, Cyprus, Crete and on other Aegean islands.

See also "Ancient Toys - Playing and Playthings", by Marc Wellens, Co-Director of the Speelgoedmuseum, Mechelen, Belgium, http://www.musee-du-jouet.com/ancient.htm.

"The Board Game Book", R.C. Bell, Simon & Schuster, 1983, pp. 120-121: "A Coiled Snake game is painted on the wall of a tomb dating form the third dynasty of Ancient Egypt c. 2868-2613 BCE. Actual boards have been found in tombs of later date and are of two types, either with a central stand, or as a flat slab with a hole at one side for hanging up on a wall. The scene on the tomb wall painting shows an equipment box containing six sets of six marbles together with six animal figurines. In Egyptian mythology a snake swallowing its own tail was a symbol of eternity, so this game may have had a ritual importance and originally been used for fortune-telling rather than for entertainment.";

ÒAncient Egyptian Mehen Ð The Forbidden Game of the Snake", P. S. Neeley, http://ourworld.compuserve.com/homepages/PSNeeley/Mehen.htm;

"The Mehen" (translated), http://www.editricegiochi.it/enciclopedia/mehen.htm;

"Egyptian Game of Mehen Ð Ms. Townsend Room 1500", http://www.myschoolonline.com/page/0,1871,1323-126657-1-32553,00.html

See, e.g., "The Gods of Ancient Egypt", http://www.touregypt.net/godsofegypt/index.htm, describing Mehen as a serpent-headed man holding a spear standing in the prow of the Sun Boat or as a giant snake coiled around it, http://www.touregypt.net/godsofegypt/mehen.htm;

see also abstract of "Mehen, God of the Board Games" by Benedikt Rothohler, Board Game Studies, Issue 2, referring to Mehen as a "god", http://www.boardgamesstudies.org/studies/issue2/article.shtml?art1.txt; "Encyclopedia Mythica", referring to Mehen as a "male god", http://www.geocities.com/shades9nl/egypt/mehen.htm.

"Wadjet, Goddess of Lower Egypt, Papyrus, and Protector of Pharaoh", supra. See also "Women in the Aegean Ð Minoan Snake Goddess", Ch. 8, Snakes, Egypt, Magic & Women, by Christopher L.C.E. Witcombe, 2000, http://witcombe.sbc.edu/snakegoddess/snakesegypt.html;

and "Symbols from the Middle East", by Shira, Uraeus: "The uraeus was the Egyptian cobra symbol of the goddess as creatress. The symbol was worn on the foreheads of deities and rules in the position of the "third eye" of insight, and stood for royal spirit, healing, and wisdom. In hieroglyphics, the uraeus was the sign for "goddess", derived from Uatchet".

"Funeral of Osiris", describing scenes of the death and resurrection of the god depicted at the temple at Dendera, scene 11, Osiris lying on his bier in the Meskhen chamber with the four funeral vases beneath, http://www.touregypt.net/osirfun.htm; see also Plate III, Egyptian Book of the Dead" (translation), of Ani, http://www.sacred-texts.com/egy/ebod/ebod15.htm, from The Internet Sacred Text Archive, http://www.sacred-texts.com/index.htm, and "The Original Meaning of the Word Bethel", Part 3, 1999 by Bethel Publishers, from The Secret Teachings, http://www.secret-teachings.com/OralTea/Page3.html.

WadjetÕs temple at Per-Wadjet was referred to as "Pe-Dep"; according to Budge, the city had two distinct districts, Dep in which Wadjet-Isis was worshipped, and Pe where Horus was worshipped. In Egyptian, the words Bu-t and Peht denote the uterus. Wadjet's aspects as a mother goddess and fertility goddess were therefore denoted in the name of her city, Pe-Dep, called Buto by the Greeks. Four goddesses bore the name of Meskhen (also personified separately as a goddess of childbirth, Meskhenet, under various spellings), and they were supposed to assist the resurrection of Osiris; they were associated with Tefnut, Nut, Isis, and Nephthys. Each bore upon her head the Meskhen tile, which has been described as a "cubit with human head"; the Meskhen tile was also depicted separately and associated with Shai. One might speculate upon the role of the Meskhen tile in the game of Mehen where, perhaps, it was represented by the "squares" upon which the playing pieces landed as they travelled inward along the spiral path to the head of the goddess. Wadjet's close connection to Isis (she was eventually subsumed by Isis) would have implied a double-meaning to her role as protector of Ra and the Pharaoh Ð as Mehen the Enveloper, she surrounded Ra and saw him safely through the night sky to rise again each morning; as the Enveloper, she also represented the womb, the secret place of protection out of which Ra was reborn each morning.