Bce During The Neo Assyrian Period

Many pieces in Mesopotamia represent the status of the kings as being a greater figure than the common people and even an alike or greater figure than the gods. One piece that depicts the high status of the ruler is the “Fragment of the victory stele of Eannatum”, from Girsu, Iraq. ca. 2600-2500 BCE. On the stele, is Eannatum, who is the ruler who leads the battle, and obtained the city of Umma. He is depicted larger than the army, except Ningirsu, who chose him as the ruler. The audience of the stele is the people of Sumer, but more importantly, his enemies. The second piece that depicts propaganda in Mesopotamia is the “Head of the Akkadian ruler”, from Nineveh, Iraq, ca. 2250-2200 BCE. The hollow-cast sculpture made with Cooper is believed to be an Akkadian king. The sculpture demonstrates propaganda in Mesopotamian art because it reflects the idea of absolute monarchy, and focuses on the kings, instead of the city-state. However, the head was vandalized as its eyes were gouged, and its beard and nose were slashed by the Medes because they were opposers of the absolute monarchy. In addition, another example of propaganda in Mesopotamia is the “Votive disk of Enheduanna”, from Ur, Iraq, ca. 2300-2275, in which the Alabaster disks represents the daughter of King Sargon, Enheduanna in which the cuneiform inscriptions which mentions that she is the daughter of Sargon, who is the king of the world. Moreover, the disk also mentions that she is the

The Hittite, Jewish, Phoenician, Persian, and Assyrians nations are all very important nations within Mesopotamia. They share similar attributes but differ at the same time.

Among the many artworks I have seen, I decided to discuss about the “Sarcophagus Depicting a Battle between Soldiers and Amazons (Warrior Women)” from the Roman civilization. It was built sometime in between 140 A.D. to 170 A.D and is approximately forty and a half inches in length, ninety-one and a half inches in width, and fifty and a half inches tall in height (“Roman Sarcophagus”). This masterpiece appealed to me because of the unique approach that has been designed to honor the deceased. Many people are familiar with the formatting and inscriptions of a gravestone because it is usually engraved with an individual’s full name, birth date, and death date. During the Roman Empire, a sarcophagus, which is a coffin, was widely used to show decorative themes that includes: battle scenes, hunting scenes, weddings, or other memorable episodes from the life of the deceased individual. The most luxurious ones were made from marble surrounded by symbolic sculptures, figures and inscriptions on all four sides (“Sarcophagus”). Another feature that captured my attention was the large quantity of details used to bring out a lifelike aspect of the deceased individual’s favorable moments in their life. In this artwork, this sarcophagus was dedicated to a Roman commander. The exterior of the sarcophagus has been well-decorated and carved with exquisite details depicting a battle scene

[pic]What aspect of Assyrian society is depicted on the bas-relief stone slabs unearthed at Nimrud?

The Stele Naram is a six foot and seven inches tall carving which is pink in color. This carving is made on a rose limestone which depicts a king leading in war followed closely by a number of soldiers. With their swords and who are following each other.  Number of soldiers are also seen falling down the carving which has the shape of a mountain (Perez 52). Naram is in a helmet that has horns and together with his troops he is looking up to the skies. His soldiers also trump on the fallen soldiers. Together the monument also shows Naram and his soldiers looking at the sun too.

The purpose of such votive statuary placed in temples was to urge the donors might to remain in a state of everlasting prayer. For example, The relief scene beneath Ur-Ningirsu’s bare feet, of kneeling men bearing full baskets, may represent bearers of ritual offerings.

The Eagle-headed Apkallu Guardian Figure is a low relief sculpture from 883-859 B.C. Assyria. Made from gypsum, this sculpture measures approximately 42 1/8 inches tall, 26 inches wide and 1 ½ inches thick. The sculpture is mounted on the wall of the dark, navy-blue painted Antiquities section of the Museum of Fine Arts Houston, dimly lit by the luminance of showcase lights. The guardian figure watches over the room as visitors pass through the archway between two exhibits of the Museum of Fine Arts Houston. In The Eagle-headed Apkallu Guardian Figure, the artist uses compositional choices, stylistic

When discussing Assyrians and my culture in general, people often times are not even aware that we are still around, some even go as far as actually believing that we are a dead culture. Those who know somewhat of who the Assyrian people are, do not truly understand the struggle the Assyrian culture and Assyrians have gone through and continue to go through to this day. That is why I picked the Assyrian flag as the symbol to represent not only my culture, but who I am as a person, too. The Assyrian flag is something very important to me because it is a symbol of strength and prosperity, a sign for me at least, to never back down and give up. I have kept going

In the cleavage area has vertical line as well as horizontal on the dress. The detail the artist put into making sure the dress, belt had the right amount of details to catch everyone’s eye who took time to view his figure. The vertical line on the tassel and the knot tie just right to display the left side of the figure waist line. Indicates the figure was a petite woman. The hair is wavy in the front and pulled into a ponytail at the back. I feel there were serval focal points with in the piece after reexamine the figure the three times. Each time something else stood out shifting my focus from the original focal point. There are many repeats of all the lines with in the figure. The artist only has half of the figure's feet and arms expose which displays start and stopping points for the gown. I feel the use of the white marble may display the cold hardness of the figures heart. The smooth texture of the marble gives a life like feel of the figure. The chair has legs of an animal

The status depicts a woman. It is made out of marble and pentelic. It is an off-white/yellow color, and it is 71½ inches, almost 6 feet tall. It was used as a grave monument.

There have been countless duels between two opposing sides in the history Roman artistry. This sculpture relief signifies the classic battle of good versus evil. Time and time again, benevolent heroes find themselves in a struggle to combat worthy yet malicious adversaries. The Roman sarcophagus, a two by five feet marble coffin, is certainly no exception. It represents another division to this timeless good-evil epic, its visual characteristics, emphasis on contrasts, and its extensive array of details give it an identity that is uniquely its own. It portrays a sense of legendary fantasy to the viewer, one pertaining to hostility, violence, and pure anger. The sculpture seems overly shallow due to

The British Museum in London holds many ancient pieces of art. There are so many galleries and exhibits inside the museum that several pieces do not get the attention they deserve. One such piece resides in the Assyrian exhibit inside the museum. It is a collection of three alabaster panels that act as registers of a narrative story. The expertly carved reliefs illustrate the great lion hunt performed by an Assyrian king in an arena. So much emotion is portrayed in the brutal imagery of the lion hunt. These great alabaster slabs once resided in an Assyrian palace in present day Nineveh. The reliefs were excavated in the 1840’s by Hormuzd Rassam, employed by Austen Henry Layard of the British Museum. Rassum found the palace by secretly digging at night because the site was originally claimed by French archeologist Victor Place. Since the excavation, the lion hunt reliefs have been displayed in the British Museum. The lion hunt reliefs features so many qualities ranging from historical to artistic. In this report the topic of why the reliefs were made, how they represented the king, the symbolism of the lion, and artistic prowess of the piece will be exposed.

Hierarchical scale is a favorite among ancient artists when creating works featuring a high ranking member of society, be it a god or a mortal king. People in power want to remain relevant to the people they serve, and this relevance is often reiterated through forms of political propaganda that make them appear more menacing or divine. One of the more blatant examples of art indicating and reinforcing social status is the “Altar to the Hand and Arm” (Kleiner 402-403). Upon first glance, the most important figure can be picked out of the other figures being depicted in this piece. Ancient African artists had a solid grasp on proportion, but they often honored their leaders by giving them larger heads to represent the endless

Looking specifically at the stelas at Abydos we see that they are smaller in size and lack the artistic preciseness we see in later funerary complexes. The stelas at Abydos were set up in pairs though and do not feature the rounded top that we identify with the first and second dynasties. These stelas depict the tomb owner and are inscribed with their title and name. Looking at the funerary stela located in the Metropolitan Museum of art dated between the first and fourth century is composed of limestone and found at Abydos. Anubis is depicted as she “presents the deceased to the enthroned Osiris” (MET). Also depicted is the mourning goddesses Isis and Nephthys, both very crudely executed and are merely silhouetted forms with oversized heads. This exaggeration of form is suggested to represent the impact of the subject

It is moreover pyramidal in structure with the vertex coinciding with Mary’s head. The base of the sculpture depicts the rock of Golgotha and is broader than the progressive