Neo-Assyrian Empire

The Assyrians were very successful as empire-builders. Although the Sea People destroyed their domain a couple of times, the Assyrians still managed to revive creating the “Neo-Assyrian Empire,” in which their realm expanded especially in the Middle East and took control over Egypt. During the Neo-Assyrian Empire, the Assyrians were able to master the skill at using chariots and the proficiency of iron smelting. They developed iron weapons and the first true cavalry force that gave them a huge advantage

warp themselves into a supremely powerful, and in some cases, godlike figure. When comparing the Neo-Assyrian Empire (c. 900-612 BCE) and the Achaemenid Empire (559-331 BCE), similarities between the visual appearance of the art and the methods of which kingship was obtained can be observed. Through the course of hegemonic rule in Ancient Near Eastern societies such as the Neo-Assyrian and Persian Empires, the use of of propaganda to influence a collective of people has stayed consistent and viable

often called shedu or lamassu. A lamassu represents a female deity. A shedu refers to the male counterpart of a lamassu. There is no name of the artist. The Human-headed winged bull and winged lion is from the citadel of Sargon II, Dur Sharrukin, Neo-Assyrian. This winged lion stood in Ashurnasirpal II 's palace at Nimrud, one of the enormous stone statues of winged beasts set up at entrances and doorways to protect the king from evil and to impress all thoese who entered. It is excavated at Kalhu (modern

The queens of Neo-Assyria have long had their positions as a part of the administrations of the royal palace neglected or overlooked. For the purpose of this assignment, I want to take a closer look at the roles the queen and her household were responsible for in the function of the palace and, in extension, the Empire. Comparatively, we know a lot more about the kings of the Neo-Assyrian Empire than we do about the queens. Although the sheer amount of tablets and steles are comparatively few in

Jinhwan Kim Professor Debin ArtHist 112 08 November 2016 Art of Near East Royalties  Many people speculate on ancient artifacts with an eye towards its aesthetic value of contemporary etic perspective. While most people are not professional anthropologists who would try to be an anachronistic spectators of a so-called “unknown ancient society”, the interesting historical and cultural aspects are embedded within every art piece throughout the ancient world. The ancient near east nations were characteristic

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

The events that happened during Ashurbanipal’s lifetime are still questioned today; but there are some things that are absolutely true about him. At a glance, Ashurbanipal was just the last great Assyrian king. Well, there is more than what meets the eye. Briefly, Ashurbanipal was an advocate in literature, a soldier, and an intellectual learner. This meant that even though he was tough on his enemies, he was also interested in the literary side of the world. Ashurbanipal was born in the year 685

Ashurnasirpal The Banquet encapsulates how the Emperor Ashurnasirpal asserted his claim to be, “...the legitimate king, the king of the world, the king of Assyria…”(The Banquet of Ashurnasirpal II, p.1) which would have been an indication of how Assyrians ruled their empire. Emperor Ashurnasirpal, according to the document, indicates how he displayed his power, wealth, and benevolence through the usage of ornate halls and temples, technological innovations, international and domestic diplomacy. The halls

Assyrian Art The reliefs from the palace of King Assurnasirpal II at Nimrud play an important role in portraying the power and importance of the Assyrian king. These reliefs are similar to other Assyrian reliefs in terms of their purpose; however, there is a contrast in the methods used to glorify the king. By examining such factors as style, iconography and historical significance, we find many similarities and differences between the "ceremonial" reliefs and the more common reliefs depicting

Syrian Warrior God The Syrian Warrior God is on display in the Los Angeles County Museum of Art’s Hammer Building as a part of the “Art of the Ancient Near East” collection– a collection consisting of over two thousand objects spanning over four thousand years. Artifacts from all over the ancient Near East can be seen in the various, well lit, galleries of LACMA. With simple cream-colored walls, the stone reliefs, pottery, vessels, and sculptures, all clearly stand out behind their protective casings