Syrian Warrior God Essay

Like other Mesopotamian kings, Naram-Sin commemorate his “ military victories” and is one of the first works of “art created to celebrate a specific achievements of an individual rule” (Cothren) Damaged on both the top and bottom, Naram-Sin's stele depicts the king's defeat of the Lullubi people of the” Zagros Mountains “(Cothren).

In the sculpture, Yuny and His Wife, Renenutet, the artist conveys a strong, affectionate marriage between two important social figures in New Kingdom Egypt. This relationship is visually conveyed by multiple factors in the visual properties of this sculpture. To provide a quick description of the piece which is dated to ca. 1294–1279 B.C.E., Yuny, a chief royal scribe, is portrayed sitting next to his wife, Renenutet, a temple-ritual singer for the god Amun-Re on a bench. The sculpture was made out of limestone and originally painted. It’s 33 1/4” in height and 21 7/16” in width. Yuny and Renenutet are both depicted in elegant clothing with equally elegant wigs. Renenutet is shown wearing a long, tight-fitting dress that comes down to her ankles ending just where her bare feet start. A large, elaborate necklace takes up the majority of her chest. Her left hand sits in her lap as she holds a menat that drapes down in front of her legs and her right hand is wrapped around the lower back of Yuny. Yuny is shown wearing a long pleated skirt with hieroglyphs down the center of it. He also wears a sophisticated top going up to his neckline with the sleeves stopping at his elbows where it flares out with elaborate pleating. Unlike Renenutet, Yuny wears sandals and his forearms and hands are broken off but it’s suggested that they originally laid by his sides.

The Persian Wars (499-479 BC) put the Greeks in the difficult position of having to defend their country against a vast empire with an army that greatly outnumbered

The reliefs of Ankh-neb-ef are limestone panels with paint that originated from the Old Kingdom of Egypt in 2150 BC during the reign of Pharaoh Pepy II. The delicate carving of the panels in the sunken relief presents a magnificent image. They portray Ankh-neb-ef, an ancient Egyptian priest whose name translates to “may his lord live.” In the reliefs, Ankh-neb-ef holds a Kherep-sceptor and a walking stick, which were symbols of authority in ancient Egypt. Egyptian civilization was extremely religious and most ancient Egyptian artworks involved the portrayal of gods, goddesses, and Pharaoh, as well. Moreover, the Egyptian reverence for order and conservative ideals led to the institution of intricate rules that governed how artists represented both humans and gods (Saylor.org 4). For instance, the apparel worn by Ankh-neb-ef in the painting is not a simple fashion statement. The priest is wearing a prestigious sarong and ornamentation, bracelets, and a wide collar. The jewelry kept their owner safe in a dangerous passage to the afterlife. This formula for representing the human figure in a painting remained popular over several centuries (Robins 24).

Choose a work of art from the reading in Chapter 1. Discuss how the work is a reflection of the ancient culture that created it. Also, did anything particularly surprise or impress

War in Syria DBQ Essay In Syria Have you ever wondered what is it like to live in Syria or the Middle East? When living in Syria there are five different militant groups in the Middle East which is ISIS, PYD, Jabhat al- Nusra, FSA, and the Assad Regime.

The Assyrian Winged Protective Deity is a very imposing figure. It measures around seven and a half feet tall (Relief of a Winged Genius). This shows the figure's importance, even if the viewer did not know it protected the king from harm. Originally, it

The painted chest with battle scenes from the Tomb of Tutankhamen illustrates the transformation of frenetic battle where Tutankhamen is victorious over Asian enemies. There is no groundline in this Egyptian painting which can symbolize the enemy’s chaos and disarray that embodied the New Kingdom of Egypt during 1333-1323 BCE. The artist contrasts the chest on two sides where Tutankhamen is in his war chariot battling against the Asiatics on one side and battling against the Nubians on the other. During the XVIII Dynasty, a multitude of artists were inspired to illustrate military relief for the pharaohs as depicted on the tomb, while having the African enemy portrayed as a muddled crowd. The hieroglyphs, cartouches, iconography, animals, and hierarchy of scale in this composition serve to heighten Tut’s military prowess and might send the message that he is no ‘boy’ king, but ‘man’ king!

This analysis will compare two ancient Egyptian works of art to a common theme and find expression in a contemporary idea. The Great Pyramid of Giza is the architectural structure that will be used as our first work of art. It was built around 2550 B.C. by Pharaoh Khufu at the necropolis of Giza during the fourth dynasty, which is located about ten miles north of the modern city of Cairo, Egypt. The second work of art is the biography of Amenemhab who served under Pharaoh Thutmose III (1504-1540 B.C) and Amenhotep II (1540-1412 B.C). Although the exact date and circumstances of his death is unknown his biography was found in his tomb located in the necropolis of Theban on the west bank of the Nile river near the modern city of Luxor. Both of these works are of a historical and cultural significance that not only gives us a small glimpse of life in ancient Egypt, but they describe what the pharaoh’s and people valued and believe in. This literary and architectural works

I am a work of art that was created in the Neo-Assyrian period, and I once lined the halls of the Northwest Palace at Nimrud. The large halls I once stood in contained many large stones carved in low relief, and were brightly painted with gigantic sculptural figures guarding the doorway. Together, we told a story of our King and his many travels and his victories. However, those days are long gone, and I no longer stand along the magnificent palace walls. Since that time, I have been separated from my home, and moved around many places. It is quite an interesting story, but it all starts long before I was created. The real story begins back in the ninth century B.C.

A clay cylinder covered in Akkadian cuneiform script, damaged and broken, The Cyrus Cylinder is a powerful symbol of religious tolerance and multiculturalism. In this talk Neil MacGregor, who is the director of the British museum, traces 2600 years of middle eastern history through this cuneiform script. Throughout this talk there are very interesting facets that emerge from Neil’s talk, including the entire text on the cylinder, being symbolic.

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 left leg is flexed at the knee and is lifted off the ground as if the warrior is about to ascend something. The left foot also sits on an enemy corpse. The enemies were depicted much smaller in size when compared with the main warrior figure . The enemies have ponytails and lie flaccid on the ground. The overall depiction of the enemy corpses is very similar to those seen on the Victory Stela of Naram-Sin, which shows his successful military campaign against the Lullubi and their king Satuni. The Lullubi were tribes living at Zamua area, modern-day Zagros Mountains of the Iraq-Iran border. Some scholars think that this man is Anobanini because of great similarity in the overall depiction of the attitude, clothes, bow, and posture of that king’s relief in Sar-e Pole Zahab . Another theory suggests that this is a Neo-Sumerian king ; it is well-known that the Neo-Sumerians had campaigned the Lullubi land nine times. Hashim Hama Abdullah, Director of the Sulaymaniyah Museum, and Kamal Rashid, Director of the Sulaymaniyah Antiquities Directorate, said that most likely this man represents a local ruler or king of what is known today as Iraqi Kurdistan. In addition, it seems likely that the relief originally contained some cuneiform inscriptions but they were erased

Syriana is a movie revolving around the many facets of US – Middle East relations. The movie is split into various plot lines to identify roots of Islamic Militancy and Terrorism in the Middle East, prospects of democracy and full self-determination and the varying effects of current US policy.

Syrian civil war started in 2011 was the outcome of the opposition against the President Bashar al-Assad regime. The uprising emerged as a response to the Arab spring movement that lead to regime change in Tunisia and subsequently turned into mass unrest rooted into the discontent with long-term dictatorship and poor economic situation in the country (Manfreda, n.d.). The number of Syrian citizens killed in the civil war reached 140000 since March 2011 (SBS 2014). The European Commission (2014, 2) reports approximately 9.3 million civilians “in need for humanitarian assistance”. The scale of armed rebellion between government and opposition that lead to an increasing number of casualties among civilians did not remain unnoticed by the