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| Bronze Head of an Akkadian ruler, from Nineveh, c. 2200 B.C. Bronze, approx. 12'' high. Iraq Museum, Baghdad. Emboies new concept of absolute monarchy. Beard, ears, and eyes mutilated; symbol of power and senses destroyed on the head |
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[image]
Stele of Narab sin |
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| Victory stele of Naram-Sin, from Susa, c. 2200 B.C. Pink sandstone, approx. 6'7'' high. Louvre, Paris |
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| winged human-headed bull, from the citadel of Saragon II, Khorsabad, C. 720 B.C. Limestone, approx. 13'10'' high. Louvre, Paris. A mythological creature that combined the bearded head of a man with the body or a lion or a bull and eagle wings that wear horn headresses marking their divine status. Their beards demonstate their high status. Some are sculpted in relief sculpture meaning that it projects strongly from its background. |
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| Ashurbanipal hunting lions, relief from the palace of Ashurbanipal, Nineveh, c. 650 B.C. Limestone, approx. 60'' high. BritishMuseum, London. Ashurnbanipal is shown very calm and fearless and is depicted as the same size as the other humans. This way his heroic nature has more to do with his actions than his size. The power of the lions further emphasize his strength. It is a very powerful propoganda image. |
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[image]
Citadel of Saragon II |
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| Reconstruction drawing of citadel of Saragon II, Khorsabad, c.720 B.C. (After Charles Altman.) It was meant to be a visual representation of Saragon II's power as a ruler. The palace was raised to be above everything, making it much more impressive. |
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| Ishtar gate (restored), Babylon, c.575 B.C Glazed Brick, Saatliche Museen, Berlin. It is meant to inspire wonder in the viewer. It was incredibly large and towered over people. Not all of the gate was fully excavated. Only the smaller northern entrance was reconstructed in Berlin. The gate was not only for defense, but was also meant to impress people; that the city was so wealthy and powerful that a defensive structure could be made beautiful. |
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| Lion, from the Processional Way, Babylon, c.575 B.C. Glazed brick, approx 38 1/4'' high. Metropolitan Museum of Art, New York. Fletcher Fund, 1931. The name of the processional way the image is from was "The Invisible enemy should not exsist". The lions were initially created facing northward so that if you were entering the city, the lions would be confronting you. The tails going downward signifies that the lion is a little more threatening. |
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[image]
Audience Hall of Darius I
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| Royal Adudience hall (apadana) and stairway, palace of Darius I, Perepolis, c.500 B.C. The stairway is covered in relief images and is made of limestone. These are propoganda images emphasizing the ferocity of the persian leaders and suggests the consequences for disobedience. On the stairway, there are relief images of representatives of the 23 different civilizations conquered by the Persians in the formation of their empire bearing gifts to give to their King. |
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[image]
Bull Headed Capital |
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| Bull capital from the royal audiencehall of the palace of Artaxerxes II, Susa, c.375 B.C. Gray marble, approx 7'7'' high. Louvre, Paris. A capital is a part of a column that sits at the very top and supports the roof beams. |
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| Subjects bringing gifts to the king, detail of the reliefs on the stairway to the royal audience hall,Persepolis, c.500 B.C. Limestone. |
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| Rhyton with forepart of a winged lion, 5th century B.C. Gold, approx. 6 1/4'' high. Metropolitan Museum of Art New York. |
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| Head of Sasanian king(Shapur II?), c.A.D. 350. Silver with mervury gliding, approx. 15 3/4'' high. Metropolitan Museum of Art, New York. Fletcher Fund. |
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[image]
Tell Asmar Votives |
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| Statuettes from the Temple of Abu, Tell Asmar, c. 2700-2600 B.C. Gypsum with shell and black limestone inlay, tallest figure approx. 30'' high. Iraq Museum, Baghdad, and Oriental Institure University of Chicago. These votive figures were meant to represent their patrons, standing in perpetual prayer in front of a cult figure of the God. The artists simplified these figures to their most important figures. Their function is to stand, stare, and pray. All the figures have enourmous eyes. |
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[image]
Bull Headed Lyre Register |
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| Soundbox of lyre of Puabi. Wood with inlaid gold, lapis lazuli, and shell, approx. 12'' high. University Museum, University of Pennsylvania, Philadelphia. The human is shown in a composite view; his torso and head are shown frontally, but his lower body is shown striding to the side. |
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| Female head (Inanna? Goddess of Love and War), from Uruk,c.3500-3000 B.C. Marble, approx. 8'' high. Iraq Museum, Baghdad. it may have been originally attatched to a wooden head and body. The groove at the top of the head was once an attatchment point for a wig, probably made from copper or gold. The eye sockets once held shells or semiprecious stones or both. The face would also have been painted. The figure was likely very dramatic to its spectators. |
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| Bull-headed lyre from the tomb of Puabi, Royal Cemetary. ur, c.2600 B.C. Gold leaf and lapis lazuli over a wooden core, approx. 5'5'' high. University of Pennsylvania, Philadelphia. |
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| Cylinder seal and its impression from teh tomb of Puabi, Royal Cemetary, Ur. c.2600 B.C. Lapis Lazuli, approx. 2'' high. British Museum, London. |
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| War side(above) and peace side(below) of the Standard of Ur, c.2700 B.C. Wooden panel inlaid with shell, lapis lazuli, and red limestone, approx. 8 x 19''. British Museum, London. It is not the costliest object ound in the "royal" graves, but probably the most signifigant from the point of view of the history of art. |
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| Seated statue of Gudea, from Telloh, c. 2100 B.C. Diorite, approx. 17 1/4'' high. Metropolitan Museam of Art, New York. Harris Brisbane Dick Fund, 1959. He built numerous temples and restored other and placed large votive statues of himself in them. All the statues are of similiar design. He is presented frontally, either sitting or standing and he his staring straight ahead with somewhat abnormally large arms, shoulders, heads, and eyes. |
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