Naram Sin Research Paper

The Sumerians were an intelligent people and very religious, who created art for the sole purpose of the Gods. Both the Stele of Hammurabi and the Statue of Gudea honor their deities and convey power and authority but in different ways. The Stele with law code of Hammurabi conveys his relationship to the sacred by showing him with his hand raised in respect to the flame-shouldered sun god, Shamash. King Hammurabi of Babylon created a comprehensive collection of 282 laws and standards, in essence a judicial code. These laws or code were carved into a massive seven-a-half-foot black stone stela or diorite pillar. Hammurabi is depicted in the familiar convention of combined front and side views, with the exception of the headdress which is

Horrific violence, terrifying threats and public terrors strike fear into the hearts of thousands who oppose the Assyrian Empire. “An Assyrian Emperor’s Resume: Ferocious Conquests a Specialty” remains a paragon of these unspeakable tragedies transpiring around 875 B.C. Written by Ashur-Nasir-Pal II (or one of his subjects), this anecdote highlights his conquests as he claims ancient cities’ wealth, while brutally murdering foreign people and destroying their lands. Geographically, the story takes place in the Middle East, specifically North Mesopotamia. According to the author, he conquers places like Hudun, Zamua, Zamru, Iritu and Ammaru. The historical value behind this piece portrays prominent aspects of their society and depicts how Assyrians reigned, while hinting at the empire’s values; therefore, this historical account provides evidence, which exhibits the attributes of the Near East during Ashur-Nasir-Pal II’s reign.

Victory Stele of Naram-Sin is a relief sculpture and was created in 2,200 B.C.E it is 6 feet high, so it is huge. The subject only includes men, and they are dressed for battle. This particular artwork was an illustration of Naram-Sin with his army and how his “enemies [would] fall, flee, die, or beg for mercy” (Kleiner 41). Naram-Sin is the largest figure, about twice the size of the other figures. In addition, he has a helmet with horns and weapons. There is a background in this relief, and it includes a mountain with a tree and there are two stars.

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

Similar to most Egyptian art, the figures in the stele are drawn with a twisted perspective – the frontal view of their faces and the profile view of their bodies. This is also seen in the relief of “King Assurnasirpal II Killing Lions.” This twisted perspective was common in most Ancient Egyptian art.

A stele is a monument that is composed of a single column typically erected to present an important event or person. Here is the Victory Stele of Naram-Sin (2254–2218 B.C.E), who was the last great king of the Akkadian Empire and grandson of Sargon the Great, the founder of the empire. Naram-Sin's title was "King of the Four Quarters" meaning "Ruler of the World." The stele was intended to commemorate the king’s defeat of the Lullubi people in the mountains of present-day Iran. The intention of this work, however, is not only to commemorate an important battle but to show Naram-Sin’s power. Due to the hierarchy of scale it can be seen that Neram-Sin is the most important figure in the piece. He is standing victorious on the top of the mountain

Fig. 1 Statue of Yuny and Renenutet, ca. 1290–1270 BCE.; Fig. 2 Akhenaten and his Family,18

inscription tells of the story of the kings lineage, his military victories, how he founded

Uluru is located in the middle of Uluru National Park, and is about 335 Kilometres Southwest of Alice Springs, however many people travel by road, which is about 463 Kilometres from Alice Springs.

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.

Language and culture are interconnected. The matter of how they are intertwined vary according to history and culture. Such variations are important to recognize when analyzing the effects of pivotal periods in history such as settler colonialism. Settler colonialism was a dark period in history and must continuously be recognized for its disturbing chronicle of events. The impacts of settler colonialism still reverberate today. Such impacts can be understood through the direct survivors of settler colonialism. In other words, indigenous nations. Despite centuries of attempted elimination, their presence continues to persevere. This does not exclude its losses, however. Many indigenous communities undergo threats of disappearing languages. Each indigenous language is affected by settler colonialism differently. So, for this research, the focus will be on the Nuu-chah-nulth language, which is spoken in the Nuu-chah-nulth region. Significance: Currently, about ten percent of the Nuu-chah-nulth population speak the native language, while even fewer speak fluently. Thus, understanding what circumstances lead to this dilemma may contribute

Selim I also known as “The Grim” was the third son born to Bayezid II, he came into power by getting rid of his father. Selim began to wage war on other Muslim states because he believed that the other Muslim states were condoning heresy. Selim I first killed thousands of Shia Muslim people before he started a war with the Persian Shia king named Isma’il. Selim I and his army also began to move towards Mesopotamia and finally in 1514 Selim’s army conquered the Safavid army. This was easy for Selim I because his army was equipped with muskets and weapons such as guns, while the Safavid army had older weapons like the bow and arrow, blades, and spears. After defeating the Safavid army he then moved on to start a war with the Mameluk leaders that

Stelaes are writing tablets. They are often made out of stone. The Kings would erase or destroy them so

The two sculptures presented for this assignment are the Statue of Gudea, which dates back to 2090 B.C. (“Statue of Gudea,” 2000) and The Royal Acquaintances Memi and Sabu, which dates back to 2575–2465 B.C. (“The Royal Acquaintances Memi and Sabu,” 2000). Both statues represent people; however, they depict different types of people from completely different time periods and cultural backgrounds. The Statue of Gudea shows the ruler of southern Mesopotamian, Gudea, whose reign was from 2144-2124 B.C. (“The votive statue of Gudea: A formal analysis,” 2011) sitting in a praying position with his hands locked and his eyes forward. He is dressed in what appears to be a lavish robe with an inscription that clearly depicts what Gudea thought of himself and his successes during his time as ruler. The Royal Acquaintances Memi and Sabu represent what is thought to be a married ancient Egyptian couple who are lovingly embracing each other. Aside from looking at

The reliefs from the palace of King Assurnasirpal II at Nimrud play an important role in portraying the power and importance