The Stele Naram's Blogging

According to History.org, the stele of Naram-Sin is a monument composed of a single column or shaft typically erected to commemorate an important event or person. The Akkadians under Sargon dominated the Sumerians about 2300 BC. Naram-Sin was Sargon's grandson. The god-like Akkadian kings ruled with absolute authority. Naram-Sin's title was "King of the Four Quarters" meaning "Ruler of the World."

The Akkadian empire is known for its imperialism. The art in their culture is profoundly influenced by their militant characteristic and they utilize their visual arts to showcase their power and strength. Moreover, the Akkadian empire built a stele that commemorated one of their achievements and it is called the Victory Stele of Naram-sin. The stele is 6 ft high and the relief and cuneiform was carved on a limestone. The stele’s visual narrative clearly illustrated king Naram-sin’s victory over Lullubi. In the relief, it showed the Akkadian army , in a composite view, going up to the mountains and also their foes can be seen on the ground dead and the defeated begging for their lives. Above them in the center is Naram-sin on a hierarchical scale, this clearly emphasizes that his identity is a king. He can be seen wearing a horned crown in which it indicates that he is also a deity. In addition, his stance

The revised back side "... is taken up by a finely carved...raised relief showing a king, undoubtedly Narmer, ready to strike down a foe whom he grabs by the hair. This pose would become typical in Ancient Egyptian art. He wears a short skirt, an animal's tail and the crown that at least in later

The artist pays very little attention to details choosing instead to use hieroglyphs to ascertain meaning to what he was trying to portray. The hieroglyphs he uses range from the identities of the god and goddesses to the inscriptions on the top of Prince Ankh-Nef-Nebu to the message at the bottom.

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

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

Many scholars believe that palettes decorated with animals, birds, and human figures had some sort of ceremonial function. On the palette, Narmer's name appears in pictographs a horizontal fish translated Nar and a vertical chisel translated Mer. These hieroglyphs appear three times on this piece of art. The king appears as the main character in various scenes on both sides of the palette, he also appears in hierachical proportion representing the status of individuals in a highly stratified society. The significance of the ruler appearing larger than other human figures indicates importance and divine status. On one side of the palette Narmer appears with the White Crown of Upper Egypt signifying that it has been tamed. On the opposite side he wears the Red Crown of Lower Egypt signifying that it also had been tamed. These images amongst other images of conquest proclaim him to be the great unifier, protector, and leader of the Egyptian people.

Represented with his shoulders frontal, and head in profile, the king is as close as humanly possible to the deities at the top of the stone slab, personifications of the sun. All individuals depicted gaze towards the Akkadian regal: his army and the vanquished turn towards him, creating a clear focal point of the composition, even the fleeing Lullubi (in the extreme far right) face Naram-Sin as he makes his escape. The horned helmet worn by the Akkadian king is a symbol of divinity, thus he is assuming the importance and status of a god with the adoration of the headdress. The relationship between gods and rulers is not exclusive to the “Stele of Naram-Sin”, in the “Stele of Sargon” examples to the a similar effect can be seen. “The enthroned goddess was complementary to and associated with the transformation of the figure holding the net into a king, since, especially from the Sumerian point of view, the presence of a real deity was then necessary.” Both Naram-Sin and Sargon’s steles are examples of the Akkadian kingship being legitimized because of religious

Since being discovered, the statue has been found to feature aspects of two different dynasties, the 13th and the 19th (Horne 1985, 22). The inscriptions along the base and throne detail the various names and titles held by Ramesses II. Also, along the left side of the throne, there is evidence of a carving error in which a duck was intended to face in the direction of the knees of the pharaoh. In the hieroglyphs, the artisan carved the signs the wrong way and attempted to cover the mistake with a plaster filling. On the right side of the throne, the meaning is the same as that on the left because the hieroglyphs are a reflection of each other; however, the duck is in the correct direction. It is because the two sides have

This real gem represents the Akkadian royal domain; this triumph stele observes Ruler Naram-Sin's violentl vanquish over a mountain people, the Lullubi. The Akkadian ruler drove his troops over the lofty inclines of his adversary region, fiercely smashing all in their way.

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

This is a stone carving of a Yogini. She is shown with four arms in various positions, sitting calmly with crossed legs. Her clothing is very limited; she wears a headdress, footwear, a garment about her hips, though primarily dons jewelry. The details of the headdress and necklace show they are high-quality and ornate. Nothing covers her breasts. A “halo”-like aura emits from her head, perhaps indicative of an ascended level of spirituality. In her hands, she holds tools of construction and craftsmanship, such as calipers, a mallet, and perhaps a palette or mortar. However, she also has prominent fangs and a skull on her headdress, right below a blooming flower. She represents tranquility and spiritual enlightenment

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

As someone with an interest in computers, from time to time I cross paths with excellence, and owing to good fortune I discovered the blog of Suwandy Tjin, who has written there his stance on the necessity of being both a leader... And a Christian

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