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.
A formal analysis, contextualizing, and compare and contrast of the Egyptian sculpture of Isis nurturing Horus and the Byzantine icon, The Virgin of Vladimir
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 statue of King Sahure and a Nome god is an interesting piece of Ancient Egyptian art ( c. 2500 BC ) that shows signs of Ancient Egyptian culture and beliefs. The statue is a small relief sculpture, meaning the sculptural elements are attached to the solid background of the sculpture and appears to be emerging from the material. The piece clearly depicts two figures side by side, one standing on the left and one sitting on the right (facing foreward). The purpose of this piece was probably to depict a certain symbolic interaction between the two characters.
Alexander the so-called ‘Great’ was a legendary conqueror who in his short lifetime was able to overthrow the Persian Empire, the most powerful kingdom at that time. He was born in 356 BCE to King Philip and Queen Olympia of Macedonia. Alexander’s warring career jumpstarted at the age of 20 in the year 336 BCE, due to the assassination of his father in which he inherited his father’s kingdom. Over the span of 11 years, Alexander and his small fleet of men of about 40,000 took over and ruthlessly conquered the Persian Empire. Sadly, this conquest was short-lived by Alexander’s sudden death in the year 323 BCE, in which his unstable kingdom with a lack of a structured governmental system quickly broke apart in the period of 10 years. Therefore, because of the cruel and the disorganized nature of the way Alexander the ‘Great’ conquered and maintained the Persian Empire, he does not deserve to be referred as ‘Great’.
inscription tells of the story of the kings lineage, his military victories, how he founded
Envision a world where the single purpose in life was to obey the gods who indirectly controlled people through your king. Rituals, duties, and praising were all part of a manifest to pass the tests of the Underworld to achieve eternal life after death. While this may seem like a radical lifestyle to us, this was how the real world was for the civilians during the Ancient Egyptian times. To truly express their fondness and devotion to the gods, people constructed works of art to represent this; remembrances of their collective significant figures in their locality were highly practiced in order to please them. In particular, the State of Khafre was created to honor their deceased king who held significant power in their society as a part of their funeral liturgy. It epitomized the repercussion he held over his nation and the respect he had acquired. The Statue of Khafre did not just illustrate a polytheistic community, but it also prompted the civilians to be respectful towards their god whom were expressed with kings through their practice of rituals, and additionally exhibited how their religion was ultimately integrated as an essential part of life.
Envy of the Gods is a book written by John Prevas about Alexander the Great’s journey after he conquered Persia. The author has a degree in history, psychology, forensics, and political science. He has worked as a professor for the last fifteen years and has written two books, Hannibal Crosses the Alps and Xenophon’s March. Alexander the Great has always been a fascinating topic, but something that had always bothered me is the fact that even though I know his name, I had no idea what he had done, why he was famous, and why he is called “Great”, therefore I chose this book to know what Alexander did, what made him famous, and why he is important.
The artwork I chose to write about is The Indian Triumph of Dionysus which I came across on my visit to the Museum of Fine Arts. The artwork was commissioned by a wealthy Roman during the end of the second century A.D. Although the Dionysus cult may hold many mysteries it is known that this artwork originated in Rome. The individual who funded that creating of this sarcophagus desired to commemorate his beliefs. Desiring for others to know what he associated himself as is what gave birth to this masterpiece.
During the course of his life and reign, Alexander had fought and won many battles and wars, defeating many kings and warlords throughout the ancient world. Perhaps his most recognized conquest was of the Achaemenid Empire of Persia and its ‘King of Kings’ Darius III during the Battle of Issus 1. After defeating the Persians at the Battle
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.
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
I find this piece to be very mysterious. Why does the head become narrow at the top? The face seems to be of an older woman, as shown by the wrinkles indented within the sides of the nose and the mouth, although they are not as prevalent as the one of NYC. There’s a soft jaw line of a woman. What is interesting to me is the indented/concave region of the eyes. Instead of forming an extruding eye with a pupil, the sculptor chose to extract the material to form the eye, unlike the piece we saw of Abu, with eyes stamped with bitumen tar. The lips are very well sculpted, and textured well. It seems like it would mean a lot to a Pharaoh who has lost his mother, or who hopes to forever remember his family. To see the portrait of his family along with himself would’ve made him feel happy and in the presence of his family. I feel this way much of the time when seeing photos of lost family members with me beside them within the photos. It’s like an everlasting memory of that person and being with them in the memory.
During early dynasty Egypt period, Egypt’s kings were reverted as gods in human form. So, Egyptian sculptor created statues of their kings and queens. After creating the statue