Bce During The Neo Assyrian Period

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Saluting Protective Spirit dates back to 883-859 BCE during the Neo-Assyrian period. Located within the Cleveland Museum of Art, Saluting Protective Spirit appears overwhelming in size, standing nearly 90.5 inches tall and 53.8 inches wide. The piece is entirely taken up by the depiction of the spirit. This paper will employ close visual analysis of Saluting Protective Spirit, describing the significance and functionality of wall reliefs’ and their relation to royalty within the Neo Assyrian time period. Saluting Protective Spirit was one of many reliefs to line the walls within the palace of the Assyrian King Ashurnasirpal II. According to the Cleveland Museum of Art this piece was once a brightly colored wall relief made of gypsum,…show more content…
The spirit is dressed in a kilt covered by a lavish long body garment. The garment, which appears to be frayed around the edges, is also inscribed with very intricate images of flowers, crisscross patterns, and paisley prints. This spirit also has a long beard. In addition, the spirit is wearing a headdress decorated with flowers, ear jewelry, bracelets around both wrists, and sandals. Snakeheads also are shown wrapped around one of the spirit’s triceps. One arm of the spirit is extended outward holding what appears to be a small branch of flowers. Also illustrated are feathered like wings on the back of the spirit. The work also gives subtle hints that the spirit has a very idealized physique. His arms and his hands are rather large with wide, broad shoulders. With exceptional use of line his calf and forearm muscles are very accentuated. The face of the spirit looks fierce and heroic. The piece looks as if it were cut into sections, similar to a register look, however it comes together to create an overall picture. Although it has gone undocumented the reason behind the sectioning of the piece, whether it is the original context or the relocation from the palace to the museum, there are three sections, the head and shoulders, the torso, and the legs. The overall scale of the spirit is proportionate, suggesting the artist may have used some type of Canon of Proportion. Although this is not a common practice within Assyrian
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