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The need for self-defense has always been present in history, especially in the ancient world. Sometimes, however, the common folk were not provided with adequate weapons or sufficient training, which greatly reduced their effectiveness in battle. In many cultures, people chose to instruct themselves, and thereby developed unique martial arts that could be very deadly forms of self defense. Many of these martial arts survived through the centuries, being refined and perfected. Here are ten deadly martial arts of the ancient world!

1. Tahtib

Tahtib, also known as Arnis sa Kawayan or simply “stick fighting,” is a traditional martial art that originated in ancient Egypt. Rooted in history and culture, tahtib involves combat techniques using a long bamboo stick as the primary weapon . Practitioners of tahtib engage in choreographed movements that simulate combat scenarios, incorporating strikes, blocks, thrusts and sweeps. The art emphasizes fluid and rhythmic footwork, balance and coordination, making use of the stick as both an offensive and defensive tool.

Tahtib has cultural significance beyond self-defense, often being performed in celebratory events, festivals, and social gatherings. It serves as a means of entertainment, storytelling, and preserving historical heritage. While tahtib's prominence waned over time, efforts have been made to revive and preserve this ancient art. Modern practitioners study tahtib to connect with Egypt's martial history, promote cultural appreciation, and foster a sense of community.

Tahtib showcases the ingenuity of ancient Egyptian combat traditions and contributes to a broader understanding of the diversity and depth of martial arts across different cultures.

Men practicing the martial art known as tahtib. (Yasser Elrasoul / CC BY-SA 4.0)

Men practicing the martial art known as tahtib.

(Yasser Elrasoul / CC BY-SA 4.0 )

2. Kung Fu

Kung Fu is a diverse and multifaceted martial arts discipline that originated in China and has gained global recognition. Rooted in ancient traditions, Kung Fu encompasses a vast array of styles, techniques, and philosophies that have evolved over centuries.

Kung Fu techniques include a wide spectrum of strikes, kicks, punches, blocks, joint locks, throws, and more. It emphasizes fluidity of movement, balance, flexibility, and the integration of mind and body, and it can be quite deadly when used in true combat. Many styles are named after animals, imitating their characteristics and movements. Beyond combat, Kung Fu embodies a philosophy of self-discipline, personal development and respect for others. It encompasses principles like harmony, balance and the pursuit of inner peace. Traditional Kung Fu schools often integrate meditation , philosophy and healing practices into their teachings.

The practice of Kung Fu has influenced various aspects of Chinese culture, including literature, theater and film. It gained global popularity in part due to its portrayal in movies and television. Different styles of Kung Fu, such as Shaolin , Wing Chun, Tai Chi and Wushu, showcase its versatility and adaptability to different goals, whether they be self-defense, physical fitness, artistic expression or spiritual growth.

3. Bataireacht

Bataireacht, also known as Irish stick fighting or cudgel play, is a traditional martial art that originated in Ireland. Rooted in the country's history and culture, bataireacht involves the skilled use of a wooden stick or cudgel for combat.

Practitioners of bataireacht develop proficiency in various techniques, including strikes, blocks, parries and footwork. The art emphasizes fluid movements, precision and timing, making use of the stick as an extension of the body. Bataireacht techniques can be applied in both one-on-one combat and in larger-scale confrontations.

Historically, bataireacht played a role in Ireland's fight for independence, as well as in everyday self-defense among common people. The art was often practiced covertly due to its association with resistance against British rule. While bataireacht's prominence waned over time, efforts have been made to preserve and revive its techniques and cultural significance.

Fight with Cudgels by Francisco de Goya, circa 1820, resembles a bataireacht brawl. (Public domain)

Fight with Cudgels by Francisco de Goya, circa 1820, resembles a bataireacht brawl.

( Public domain )

4. Pankration

Pankration was an ancient Greek martial art that emerged in the early Olympics and has left an indelible mark on combat sports history. Combining elements of boxing and wrestling, pankration was a no-holds-barred fighting discipline that allowed for a wide range of techniques, including strikes, joint locks, chokes, and throws.

In pankration, combatants aimed to incapacitate or submit their opponents through a combination of brute force and strategic finesse. Matches could become intense and often ended only when one fighter either surrendered, was rendered unconscious, or was unable to continue. Despite its aggressive nature, there were rules in place to prevent maiming or death.

Pankration was held in high esteem in ancient Greek society, celebrated for its physical prowess and mental fortitude. Its champions were regarded as true all-around athletes, showcasing a blend of strength, agility, and tactical acumen.

Pankration's legacy can be seen in the modern evolution of mixed martial arts (MMA), as it bears similarities to the diverse combat techniques and versatility displayed in contemporary cage fighting. While pankration itself is no longer widely practiced, its influence endures through its impact on combat sports.

5. Kalaripayattu

Kalaripayattu is an ancient Indian martial art with roots in the state of Kerala. Considered one of the world's oldest fighting systems, it encompasses a holistic approach to physical, mental, and spiritual development. Kalaripayattu is known for its distinctive blend of striking techniques, weaponry and physical conditioning.

This martial art is divided into various stages of training, beginning with the practice of Meipayattu (body conditioning) to develop flexibility and strength. Kolthari involves training with wooden weapons like staffs, Ankathari introduces metal weapons like knives and swords, and Verumkai focuses on unarmed combat.

Kalaripayattu's unique techniques include intricate footwork, graceful movements and powerful strikes aimed at vital points on the body. It emphasizes a deep understanding of the body's energy flow and pressure points for both offense and defense.

Beyond combat, Kalaripayattu incorporates healing techniques, known as Marma Chikitsa, to treat injuries and restore balance. It's also an essential part of Kerala's cultural heritage and has influenced other martial arts like Silambam and certain aspects of traditional dance forms.

Two Kalaripayattu swordsmen in mock sword against sword martial arts combat in Kerala. (Phil Bus / CC BY-SA 2.0)

Two Kalaripayattu swordsmen in mock sword against sword martial arts combat in Kerala.

(Phil Bus / CC BY-SA 2.0 )

6. Karate

Karate is a traditional Japanese martial art that originated on the island of Okinawa and later gained worldwide recognition. Characterized by its emphasis on striking techniques using various parts of the body, karate focuses on delivering powerful punches, kicks, knee strikes and elbow strikes. It embodies principles of discipline, respect, and personal development.

Karate practitioners, known as karateka, train in forms (kata), which are choreographed sequences of movements that simulate combat scenarios. These forms help practitioners develop techniques, balance, coordination and mental focus. Karate also includes sparring (kumite), where practitioners engage in controlled, supervised combat to apply techniques in a dynamic setting.

Different styles of karate exist, each with its own philosophy and techniques. Shotokan, Shito-ryu, Goju-ryu, and Wado-ryu are some of the most well-known styles. Karate has been influenced by Okinawan and Chinese martial arts, and it has evolved over time to include both traditional and sport-focused elements.

Karate's popularity as a martial art, self-defense system and competitive sport has led to its inclusion in international events like the Olympic Games. Beyond physical skills, karate fosters mental resilience, self-confidence and a sense of community.

7. Ninjutsu

Ninjutsu is a historic and secretive Japanese martial art that encompasses a wide range of skills and techniques associated with espionage, sabotage and unconventional warfare. Originating during feudal Japan, ninjutsu was developed and practiced by the ninja, covert agents skilled in espionage and guerrilla tactics.

Ninjutsu encompasses various disciplines, including espionage, disguise, stealth, camouflage, escape, evasion and unconventional combat techniques. Practitioners, known as shinobi or ninja, were trained to operate in a clandestine and covert manner, using their specialized skills to gather information, conduct assassinations and disrupt enemy activities.

The art of ninjutsu places a strong emphasis on adaptability, deception and survival. Techniques include unarmed combat, weapon handling, explosives, poisons and the use of everyday tools as weapons. Additionally, the art includes meditation and mental training to enhance focus, awareness and control.

Ninjutsu's mystique has been popularized in modern media, though historical records are often limited due to its secretive nature. While the traditional role of the ninja has evolved, the legacy of ninjutsu endures as a symbol of ingenuity, resourcefulness, and the art of adapting to challenging circumstances.

8. Silambam

Silambam is an ancient martial art hailing from the southern regions of India, particularly Tamil Nadu and Kerala. Rooted in tradition and culture, Silambam revolves around the skillful use of a bamboo staff, also known as silambu or lathi, as a versatile weapon for both offense and defense.

Practitioners of Silambam engage in a dynamic and rhythmic dance-like combat, focusing on fluid movements, footwork and precise strikes. The art incorporates a wide range of techniques, including strikes, blocks, sweeps, thrusts and spins, making it a comprehensive, deadly, and adaptable form of self-defense.

One of Silambam's distinctive features is its emphasis on weapon-to-weapon combat, as well as unarmed techniques that complement the staff work. The art's historical roots trace back to ancient battles and warrior traditions, where the silambu was utilized to defend against various opponents and weaponry.

Over time, Silambam has evolved into a cultural expression and a symbol of regional heritage. It has gained recognition as a sport and a means of promoting physical fitness, coordination and discipline. The practice of Silambam continues to be celebrated through performances, competitions and demonstrations, showcasing its significance in preserving the rich martial heritage of South India.

9. Eskrima / Kali / Arnis

Arnis is the national martial art of the Philippines. Also known as Eskrima or Kali, this is a versatile and comprehensive martial art that can be very lethal. This ancient system places a strong emphasis on weapon-based combat, with a primary focus on sticks, blades and improvised weapons. Eskrima practitioners develop a deep understanding of both armed and unarmed techniques, making it effective for self-defense in various scenarios.

Practitioners learn to strike, block, disarm and manipulate opponents' weapons with precision and speed. The art's footwork and body positioning contribute to its effectiveness, enabling practitioners to maintain a balanced and controlled approach to combat.

While weapons training is a cornerstone of Eskrima, it also incorporates empty-hand techniques, grappling, and throws, providing a well-rounded self-defense system. The art's adaptability has led to its integration into modern law enforcement and military training, as well as its continued practice in various cultural and sporting contexts.

Eskrima remains an integral part of the nation's cultural identity, celebrated for its practicality, efficiency and holistic approach to combat and self-preservation.

Eskrima practitioner wearing a traditional headdress and striking with a stick as part of this unique martial art. (kian / Adobe Stock)

Eskrima practitioner wearing a traditional headdress and striking with a stick as part of this unique martial art.

( kian / Adobe Stock)

10. Varma Kalai

Varma Kalai is an ancient martial art and healing system that originated in the region of Tamil Nadu in South India. Rooted in the Siddha tradition, Varma Kalai focuses on the manipulation of vital points ( varma) on the body to both incapacitate opponents and promote healing, depending on the need. This martial art encompasses a wide range of techniques, including strikes, pressure point manipulation, joint locks and weapon-based combat.

Varma Kalai practitioners are trained to target specific points on the body, believed to be interconnected with the body's energy pathways, nerves, and vital organs. Strikes and pressure applied to these points can disrupt an opponent's physiological functions, causing pain, paralysis or even death. However, the art also emphasizes the ethical use of its techniques and places great importance on understanding the body's energy flow and balance.

In addition to combat applications, Varma Kalai includes a comprehensive system of healing and medicine, utilizing the knowledge of vital points to treat injuries, ailments and imbalances in the body. While the ancient art of Varma Kalai has diminished in prominence over time, efforts to preserve and revive its teachings continue, allowing its unique blend of martial prowess and therapeutic knowledge to persist as a cultural and historical treasure.

These ten martial arts, whether showcasing the graceful but lethal moves in Kalaripayattu or the brute force encounters of pankration in ancient Greek arenas, offer a deep dive into the ingenious methods developed for self-defense and warfare. They stand not just as methods of physical combat, but also as spiritual disciplines, philosophies, and influential cultural symbols woven deeply into the tapestries of their respective societies.

Top image: 10 Deadly Martial Arts of the Ancient World.
Source: wojciech / Adobe Stock

By Aleksa Vučković

Bibhu Dev Misra

The Black Obelisk of Shalmaneser III is one of the most intriguing artifacts of the Neo-Assyrian Empire. Discovered by Sir Austen Henry Layard in 1846, it is one of only two complete Neo-Assyrian obelisks yet discovered. This perfectly preserved monument commemorates 31 years of King Shalmaneser III’s reign, who ruled from 858–824 BCE. It was erected as a public monument in 825 BCE, in the central square of Nimrud (biblical Calah, or ancient Kalhu), located in modern-day Iraq. After its discovery, the object was transferred to the British Museum where it still resides.

The four-sided obelisk is made of black limestone, and stands just under 2 meters (6 ½ feet) tall. It has five vertically arranged panels on each side, adding up to a total of 20 panels. They depict five different subdued kings, bringing tribute and prostrating before King Shalmaneser. The tributes from each subdued king occupies four panels around the monument and is described by a cuneiform script above them.

The Black Obelisk of Shalmaneser III in the British Museum, black limestone, c.827 - 824 BCE, from Nimrud, Iraq.

The really intriguing elements of this obelisk can be seen on the third panel from the top, which depicts the tributes brought by an unnamed ruler of “Musri”. Earlier, historians used to think that Musri was a kingdom in northern Iraq, but now that it is accepted that it was a Neo-Assyrian term for Egypt, phonetically similar to the Hebrew “Mizraim”, Classical Arabic “Misr” and Egyptian Arabic “Masr”.
So, what did this subdued king of Egypt (not necessarily the pharaoh), bring as tribute to Shalmaneser III, sometime around the 9th century BCE? Human-animal hybrid beings, which are depicted alongside other easily recognizable animals! The hybrids are smaller than humans, and are held in chains like pets.

Tributes brought to Shalmaneser III by the king of Musri i.e. Egypt. Credit: Osama Shukir Muhammed Amin, CC BY-SA 4.0

This panel shows a pair of human-animal hybrid beings, held by chains. Both the creatures have human-like head and arms, but their hind limbs are like that of an animal, and they also have a tail. The creatures appear to be capable of standing or walking on their hind limbs. One might think that they look like a miniature version of a sphinx, which, of course, is a startling thought, for haven’t we been told that the sphinx is a “mythological” creature?

Tributes brought to Shalmaneser III by the king of Musri i.e. Egypt. Credit: Osama Shukir Muhammed Amin, CC BY-SA 4.0

This panel shows three human-animal hybrids, of which two are held by ropes. These hybrids seem to be quite comfortable walking on their hind legs, and are very human-like except for their long tail. One of the hybrids is perched on the shoulder of a man, which indicates that they have a friendly attitude towards humans and can be trained. They resemble the satyrs of Greek art, and the vanaras of Indian legends, which, once again makes us wonder how so-called mythical beings could have been offered as a tribute by a king of Egypt in the 9th century BCE.

It is important to remember that the Black Obelisk of Shalmaneser III was a royal monument which was meant for the express purpose of recording the various tributes that King Shalmaneser had received during his reign. It was probably executed by the royal scribes, working hand-in-hand with the highly skilled royal sculptors. This was not the place where the sculptor could indulge in flights of fancy, and employ religious symbols and metaphorical devices. Nor could a sculptor afford to attach a tail to a prisoner, simply because he had a personal dislike for that person. The Neo-Assyrian kings were not known for their sense of humour, and any deviation or practical joke would have been severely dealt with.

What I am trying to get at is that, if a royal monument shows human-animal hybrid beings being received as tribute, then it is very likely that they were. And it is only because such creatures do not exist today that we find this thought so incredible.

In fact, there is documented evidence that bizarre, human-animal hybrid beings existed in some parts of the world till the late first millennium BCE. One of the interesting accounts was written by a Greek physician called Ctesias, who served as a doctor at the court of the king Artaxerxes II of Persia. He wrote a book called Indica, which was based on various stories brought to the Persian court by visitors and travelers from India and other parts of the world. Pliny, the Elder, quoting Ctesias, writes that,

“Ctesias informs us, that among these same Ethiopians, there is an animal found, which he calls the mantichora; it has a triple row of teeth, which fit into each other like those of a comb, the face and ears of a man, and azure eyes, is of the colour of blood, has the body of the lion, and a tail ending in a sting, like that of the scorpion. Its voice resembles the union of the sound of the flute and the trumpet; it is of excessive swiftness, and is particularly fond of human flesh.”[1]

Ctesias also wrote of similar hybrid animals being found in the mountainous regions of India. Pliny quoting Ctesias in Natural History, writes that,

“There are also satyrs in the mountains in the east of India...this is an extremely swift animal, sometimes going on all fours and sometimes standing upright as they run, like human beings; because of their speed only the old ones or the sick are caught.”[2]

The satyr in the above description, could, of course, refer to the Mande Burung, which is the counterpart of the Yeti that lives in the mountains of eastern India, in the state of Meghalaya. What it most certainly does not describe is the “monkey”, which is an animal that everyone in India is familiar with, and unlikely to evoke any interest.

The accounts of Ctesias indicate that human-animal hybrids, like those depicted on the Black Obelisk of Shalmaneser III, may have existed in Ethiopia and India around the 5th century BCE, and therefore, could have been given as a tribute by a king of Egypt in the 9th century BCE.

Another interesting incident was recorded by the Greek historian Plutarch in the 2nd century CE. Plutarch wrote in the Life of Sulla that the soldiers of the Roman general Sulla had captured a satyr sleeping during a military campaign in Greece in 89 BCE.[3] Sulla’s men brought the satyr to him and he attempted to interrogate it, but it spoke in an unintelligible sound, which was a cross between the neighing of a horse and the bleating of a goat.

It appears from accounts such as these that, satyrs may not be imaginary creatures, as is commonly believed, but could have been hybrid beings that lived till the beginning of the Christian era and became extinct soon afterwards, as the environmental conditions continued to change. Millions of animals have become extinct over time, so why not sphinxes and satyrs? Or, perhaps, they did not become extinct, but retreated inside mountain caves and subterranean grottoes, where they are simply biding their time until conditions become favorable for their emergence?

The question is, if these creatures actually lived in the past, how did they evolve? We know that human DNA is not compatible with that of animals, which means we can pretty much rule out any involvement of humans in this matter. What do the ancient texts and traditions have to say about it?

When it comes to the sphinx, there is not much to go on, especially with respect to their origin. We know that the sphinx was always regarded as a protector or guardian of a sacred sanctuary, and was generally depicted in pairs on either side of the entrance to a temple, palace or tomb. This custom was consistently followed across the world, wherever sphinxes are depicted in art and architecture - in Egypt, Greece, Mesopotamia, India and South-east Asia.

With regards to their appearance, there are slight differences between cultures. In Greece, the sphinx was generally female, and had a pair of wings. In Mesopotamia, the sphinx was called lamassu. It combined the characteristics of a man and a bull, and was typically depicted with wings. Colossal statues of the lamassu were placed in pairs at the entrances of the royal palaces and cities. Interestingly, on many cylinder seals, the lamassu was depicted in an upright, standing position, adoring the stylized “sacred tree”, which indicates that they played an important role in the religious life of the people.

A gigantic sculpture of a lamassu, flanked by an equally big sculpture of Gilgamesh grasping a lion, from the throne room of Sargon II, in Khorsabad. On display at the Louvre, Paris. Credit: Sailko, CC BY-SA 3.0.

Neo-Assyrian Cylinder Seal from c. 9th - 7th century BCE, depicting a pair of bearded bull-men, standing on either side of a sacred tree, with the winged disk of Ashur hovering above it. Source: Met museum, Public Domain.

In India, the sphinx was called purusha-mriga or kimpurusha. It used to be depicted standing on four legs at the entrances of temples, as well as in an upright position on two limbs in front of a Shiva-linga. The Shiva-linga, which is a stone pillar symbolizing the god Shiva, is the axis-mundi of the world, and is conceptually equivalent to the “sacred tree” depicted on the Mesopotamian seals. It is apparent that the sphinx, in an upright standing posture, looks quite similar to the hybrid creatures depicted on the Black Obelisk of Shalmaneser III.

A pair of Indian sphinxes, standing upright while worshipping a Shiva-linga.

Credit: Raja Deekshithar.

Unfortunately, there are very few stories associated with the sphinx, because of which we don’t know anything about it origins or parentage. In case of the satyrs, however, a lot more information is available, which hints at a genetic experiment carried out by the gods, sometime prior to 7000 BCE, in order to produce these strange, hybrid creatures.

In Greek art, the satyrs were shown with the ears and tails of a horse, but their face was like that of humans, and they sported long beards. In fact, apart from their ears and tail, everything about the satyrs is completely human-like. They walked upright like humans, played the aulos (double flute), lyre and other musical instruments, drank wine, and danced around merrily in the entourage of Dionysus, along with the maenads i.e. dancing nymphs. I have no doubt that if a satyr were to cover his ears with long, flowing hair, and dress up in a formal suit, he would be unrecognizable in any modern-day orchestra. Who knows, they might already be lingering amongst us!

A satyr playing the aulos to entertain Dionysus, c.480 BCE. Credit: Jean Pierre Dalbéra, CC BY 2.0.

Dionysus seated on stool and holding a wine cup, entertained by two dancing satyrs, c. 510 - 500 BCE. Credit: ArchaiOptix CC BY-SA 4.0.

Pan was the leader of the satyrs in the Dionysian retinue, and he was the general of Dionysus’s army during his military expeditions. He had precocious musical talent, being the inventor of the “pan flute”. An Orphic Hymn to Pan states: “Only at evening, as he (Pan) returns from the chase, he sounds his note, playing sweet and low on his pipes of reed: not even she could excel him in melody —that bird who in flower-laden spring pouring forth her lament utters honey-voiced song amid the leaves.”[4] Interestingly, Pan was regarded as a demigod, being the son of Hermes, and he was worshipped in caves and grottoes as the god of the wilderness, pastures, groves, flocks, music and fertility.

The satyrs of Greek art correspond to the vanaras of Indian legends, who accompanied Rama on his military campaigns. The vanaras had monkey-like faces covered with beard, hairy bodies, and a long tail. But they walked upright like human beings, and were similar to humans in their speech and customs. The most powerful of the vanaras was Hanuman. Like Pan, he was a demigod, being the son of the wind-god Pavan, and was therefore known as “Pavan-putra Hanuman.” Hanuman was also musically gifted, being a sitar player par-excellence, and one of the four styles of Indian (Hindustani) classical music is named after him.

Hanuman, with raised right hand, and holding a branch in his left hand. Ramachandra Temple, Hampi. Credit: G41rn8, CC BY-SA 4.0.

Rama with Hanuman. Srivaikuntam temple, Tamil Nadu. Credit: Sowrirajan s, CC BY 2.0.

When the noted scholar and philologist, Sir William Jones, came to Calcutta, India, in 1783, as a Supreme Court judge, he immediately noticed the stark correlations between Dionysus and Rama, and wrote an article elaborating on these connections. A number of Greek historians had written that Dionysus had been born on a mountain of India named Meros, which was located close to the city called Nysa, from where his name Dionysus (God of Nysa) had originated.

It appears that Rama and his retinue of vanaras had gone westwards, propagating a mystery religion in which god-communion was achieved through ritual ecstasy. This is not surprising, considering that Rama was a great devotee of the god Shiva, and many elements of the Dionysian rites – such as the long processions, consumption of intoxicants, ritual dances, the use of serpents and phallic cult objects – are still practiced by the devotees of Shiva.

After the conquests of Alexander, the Greek and Roman historians - Pliny, Solinus and Arrian - wrote about Indian customs and culture. Their writings indicate that the Indians counted their kings from 6776 BCE, starting with a ruler whom they identified with the Greek Dionysus or Roman Bacchus. Since we can be quite certain that Dionysus or Bacchus is indeed Rama, it means that the satyrs or vanaras were roaming the world since that remote period.

This brings us to the big question: how did this strange race of vanaras originate? As per the Ramayana, the gods, sages and other celestial beings mated with the animals of the forests to create powerful progenies who would be able to assist Rama in his fight against the rakshasas i.e. giants. For instance,

“When Brahma addressed them thus, those gods agreed to his order and accordingly started to parent sons in the semblance of monkeys.”[5]
“Thus the gods have procreated many thousands of such valorous and guise changing monkeys who with their immeasurable strength and bravery are manifest for the elimination of the decahedral demon Ravana.”[6]

So, the gods were involved in the creation of the race of vanaras. As to who these gods were, I shall not speculate here, other than to say that the accounts of most native cultures portray them as “humanoid” beings of great power who came to the earth in very ancient times, the most likely place of their origin being the Pleiades star cluster. But did the gods actually procreate with the forest animals for the purpose of creating the vanaras or did they use advanced genetic manipulation techniques? Probably the latter, for that is the method that the gods had adopted for the creation of human beings, as per the Mesopotamian epic of creation, the Enuma Elish.

The Enuma Elish relates that the gods lived on the earth in the beginning, and toiled hard to make the rivers, lakes, mountains and other features of the ecosystem, so that our planet could become habitable. After Marduk slayed Tiamat, the monstrous serpent of the oceans, he wanted to create man, so that man could take over the labors of the gods and the gods could rest. Enki (or Ea), the Lord of Underworld, then created man from the blood of Qingu, who was one of the underworld divinities who had instigated Tiamat to rebel against the gods. These are the exact lines from the Enuma Elish:

27 The Igigi, the great gods, answered him (Marduk),
28 That is, Lugaldimmerankia, the counsellor of the gods, the lord,
29 "Qingu is the one who instigated warfare,
30 Who made Tiamat rebel and set battle in motion."
31 They bound him, holding him before Ea (Enki),
32 They inflicted the penalty on him and severed his blood-vessels.
33 From his blood he (Ea) created mankind,
34 On whom he imposed the service of the gods, and set the gods free.[7]

Although the text doesn’t say so explicitly, it is quite likely that Enki extracted Qingu’s DNA from his blood and re-engineered it to create human beings. In which case, a similar process may have been followed for the creation of the vanaras, satyrs, sphinxes and many other kinds of magical, hybrid beings that are depicted in ancient art and architecture.

We are prone to regard these hybrid beings of ancient art as mythical or imaginary creatures since we don’t see them around today, but it is quite possible that the DNA of these hybrid beings degraded over time due to the accumulation of harmful genetic mutations, and as a result they slowly became extinct, or retreated to some hidden location. However, as the Black Obelisk of Shalmaneser III shows, some of these hybrid creatures were still around in the 9th century BCE. They had shrunk in size by then, and were caught by humans and possibly trained as pets. However, their numbers would have substantially reduced by that time, to the extent that they became rare or exotic animals, and were offered as tribute to kings.

References

[1] Pliny the Elder, The Natural History 8.30, https://www.perseus.tufts.edu/hopper/text?doc=Plin.+Nat.+8.30#note1
[2] Pliny the Elder, The Natural History 7.2.6, https://topostext.org/work/148
[3] Hansen 2017, pp. 167–168.
[4] Hymn 19 to Pan, ed. Hugh G. Evelyn-White.
[5] Valmiki Ramayana 1.17.8
[6] Valmiki Ramayana 1.17.17
[7] Enuma Elish, Tablet VI, lines 33-34, https://www.worldhistory.org/article/225/enuma-elish---the-babylonian-epic-of-creation---fu/