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Ancient Near Eastern Art
- 1. Ancient Near Eastern Art
- 2. “Urban Revolution” in the Fertile Crescent • Development of permanent systems of social regulation – Agriculture as basis of wealth – Occupations other than just “farmer” emerged • Religion plays a central role in government and daily life • Writing (cuneiform) develops • Rise and fall of rulers and city-states was common
- 3. Map of Middle East
- 4. Key features of Art • “Art for art’s sake” did not exist • Artisans were trained and valued – Art was “intentional” • Art was intended to communicate specific religious or political messages to audiences – More accustomed to reading images (visual literacy) – Not many could read words (textual literacy), even though many objects were inscribed
- 5. Key Features, cont. • Most objects pertain to religion and rule because stability is fleeting – Cylindrical seals – Votive figures (sculpture in the round) • Relief Sculpture was most popular form of art – Steles demonstrate leadership and hierarchy in art – “Iconography of power” • Consistency and continuity across cultures despite constant upheaval in rulers
- 8. Standard of Ur - Found in burial site in Ur (Present day Iraq) - Not sure of purpose - Could have been carried in war on a pole or a box for an instrument - Tells a story on two sides: War and Peace
- 9. Standard of Ur- Peace Side
- 10. Standard of Ur- War Side
- 11. Animal Images • Animals were a part of daily life – Shepherded flocks, traveled with pack animals, used animals in sacrifice, sport, battles and hunted animals for food • Depicted often in art • Some animals were connected to the gods – Storm god and the bull • Sometimes depicted just because of qualities – Strength, Fierceness
- 12. Royal Image • Emphasized Ideal over naturalistic • Pious depictions took the form of sculpture in the round and were placed in temples – Symbolized the ruler’s eternal presence • Dynamic depictions took the form of sculpture in relief (narrative and visual literacy)
- 13. Characteristics of Royal Image • Distinctive headdress • Activities (performance or rituals, battle, etc) • Beard and mustache • Pronounced size and musculature • Long or elaborate garments • Symbols of rulership (bow, sword, etc) • Inscriptions that identify ruler by name (See Page 35 of Met Museum Resource)
- 14. Victory Stele of Naram Sin, 2254–2218 BCE - Depicts the Akkadian victory over the Lullubi Mountain people. -Composition is in diagonal, not in registers -Naram-Sin is largest figure and at the top -Soliders shown marching, defeated shown falling
- 15. Stele of Hammurabi, c. 1792-1750 BCE height of stele: 7ft height of relief: 28 in
- 16. Stele of Hammurabi • Hammurabi is receiving the laws from the god Shamash – Shamash is seated • Emphasis is Hammurabi’s role as pious theocrat – the laws themselves come from the god.
- 17. Hammurabi’s Code • Cuneiform text in the Akkadian language • Divided into three sections – Kings register: right to be king – Ode to his glory – Over 300 specific laws (most of the text) • Meant to be a legacy to Hammurabi • Laws are “immutable” and meant to be devine
- 18. Votive Statue of Gudea
- 19. Foundation Peg in the Form of the Forepart of a Lion
- 20. Relief of King Ashurnasirpal II
- 21. Ziggurats • Ziggurat of Ur, c. 2100 B.C.E. mud brick and baked brick, Tell el-Mukayyar, Iraq (largely reconstructed) • Temple tower of ancient Mesopotamia • Terraced pyramid of successively receding stories.
- 22. Ziggurats, cont. • Mud bricks (baked on the inside, fired on the outside) – Glazed in different colors • Consisted of receding tiers (between 2 and 7) • Rectangular, oval, or square platform • Ramps provided access to the top • Pyramidal structure • Shrine or temple at the top • Believed to be dwelling places for the gods – Only Priests permitted inside – Not for ceremony or worship
Editor's Notes
- Meant to be a signature Reflective of the owner and artistic style of the day Worn in necklaces, etc.
- Votive figures range from a foot to three feet tall Meant to be a “stand in” for the person worshipping a god Stylized to show constant vigilance
- 3 Registers, most important and powerful figures at the top, laborers at the bottom bottom: carrying items, agriculture Middle: herding animals Top: ruler, ceremony, cups, music (on right)
- Bottom register: four chariots, trampling the enemy (see detail)…almost increasing in speed as move to the right. Middle: soldiers in regular placement, sense of an army, battle in the middle, soldiers captured on the right Top: king in center (taller), chariot and soldier on the left, prisoners of war being brought to the king on the right
- Question: why so large?...what could image at top mean?
- questions l Notice this figure’s pose and expression and the way he holds his hands. What does this suggest? l Why are some of the forms of his body exaggerated? To which of his characteristics did this ruler want to draw attention? l Discuss the cuneiform inscription on his robe. Where was the statue originally placed? What was its function? Inscription: “Let the life of Gudea, who built the house, be long.” Piety and Calm towards Gods (would have been in a temple) The representa- tion of these somewhat exaggerated features was not a record of his actual appearance but rather the embodiment of qualities associated with good leadership, such as strength, wisdom, and piety
- l Why does the upper part of this lion’s body look so fierce? Notice how it turns toward us. What is the figure doing? l Discuss the function of this piece. How does knowing the function affect your understanding of what is happening? l Consider the placement of the plaque under the lion’s paws. What does this convey about the role of this lion figure in the action described on the plaque? Inscription: “Tishatal, endan [ruler] of Urkesh.” The image of the lion as a guardian animal is prominent through- out the history of Mesopotamia and the surrounding regions. Realistic Portrayal: fierce (how so), meant to preserve the name of the ruler
- questions l Which one of these four figures is supernatural? Which figure is the king? How can you tell? l What is happening in this scene? What clues indicate this? l Although the king and his two attendants are performing a peaceful ritual honoring the gods, what details show the power and military might of the Assyrian empire? l Discuss the scale of this relief, its original location, and the cunei- form inscription. l Notice the contrast between undecorated and richly detailed surfaces. Inscription reads: “I built this palace with halls of cedar, cypress, juniper, teak ... as my royal dwelling.” peaceful and ritual character of the scene is reflected in the dignified composure of the figures. central figure in secular and religious ceremonies such as the one depicted here.