Mesopotamian Slides

Chapter 2

The Rise of Civilization:

The Art of the Ancient Near East

Gardner’s Art Through the Ages,12e

•Robbe-Grillet Cleansing Every Object inSight Mark Tansey 1981

•Phenomenological: understanding culturallandscapes from a sensory perspective

The Ancient Near East

Art of the Ancient Near East (Mesopotamian Art)

•The Sumerians are credited in the West for:

•Building the first urban communities

•Developing the earliest known writing system

•Inventing the wheel

•They lived in a dozen city-states in a flat valley between theEuphrates and Tigris rivers known as Mesopotamia

•Mesopotamia: Greek for “land between the rivers”

Art of the Ancient Near East (Mesopotamian Art)

•There was constant political change in the region as numerouspeoples competed for power and control over Mesopotamia

•(2900-2300 BCE) Sumerian* 27thth C BCE

•(2300-2150 BCE) Akkadian* 23rd C BCE

•(2150-2000 BCE) Neo-Sumerian

•(2000-1600 BCE) Babylonian* 18th C BCE

•(1600-900 BCE) Hittite

•(900-600 BCE) Assyrian* 8th C BCE

•(600-550 BCE) Neo-Babylonian*

•(550-350 BCE) Persian*

•(350-250 BCE) Seleucid and Roman

•(250 BCE–650 CE) Sasanian

* we will study works of art from these peoples

Figure 2-14 Ziggurat(northeastern facadewith restored stairs), Ur(modern Tell Muqayyar),Iraq, ca. 2100 BCE.

Sumerian

•The Sumerians believed that each city-state was under the specialprotection of a god or goddess

•Ziggurat: “mountain of the gods” a monumental platform for a templemade of mud bricks and bitumen, rising high above the city-center

•Known to the Hebrews as the Tower of Babel, the tallest ziggarat wasbuilt in Babylon at 270 feet high

Diagram: Ziggurat of Ur

•Devices used to declare

Sacred Space:

•Exclusivity

•Material wealth and decoration

•Ritual and ceremony

•History of religious events

•everyday the priests with shaved heads would climb the mud brickstairs with a sheep or goat for sacrifice

•Although priests could devote full attention to the gods, everydaypeople were quite busy working in the fields and shops…

Sumerian

*Figure 2-5 Statuettes of two worshipers,from the Square Temple at Eshnunna(modern Tell Asmar), Iraq, ca. 2700 BCE.Gypsum inlaid with shell and blacklimestone, tallest figure approx. 2’ 6” high.Iraq Museum, Baghdad.

Sumerian

•The Sumerians needed to demonstratecontinuous devotion to the gods, so thebusy everyday people used statuettes torepresent them at the temple

•Archeologists have discovered many ofthese hidden below the temple floors

Sumerian

•Their folded hands grasp libationcups used in religious ceremonies

•Their eyes are wide open todemonstrate that they are eternallyalert and reverent

•Ironically, many of thesestatuettes have survived while theimages of the gods and goddessesthey worshipped have vanished

Figure 2-6 Seated statuette of Urnanshe, from theIshtar temple at Mari (modern Tell Hariri), Syria, ca.2600–2500 BCE. Gypsum inlaid with shell and lapislazuli, 10 1/4” high. National Museum, Damascus.

Sumerian

•Votive offering: a gift of gratitude to a god

•Conical: cone shaped

•Surrogate: the art is a replacement/representation of a person

Figure 2-8a War side ofthe Standard of Ur, fromTomb 779, RoyalCemetery, Ur (modern TellMuqayyar), Iraq, ca. 2600BCE. Wood inlaid withshell, lapis lazuli, and redlimestone, approx. 8” x 1’7”. British Museum,London.

Sumerian

•In the 1920’s British archeologist LeonardWoolley excavated a cemetery in Ur,,unearthing gold helmets, jewelry, musicalinstruments and statues covered in gold leaf

•Art historians get most excited about hisdiscovery he named “The Standard of Ur”

Standard of Ur, from Tomb 779,Royal Cemetery, Ur (modern TellMuqayyar), Iraq, ca. 2600 BCE. Woodinlaid with shell, lapis lazuli, and redlimestone, approx. 8” x 1’ 7”. BritishMuseum, London.

Sumerian

•It is inlaid (set into a surface) with shell and lapis lazuli (relatively rare,semi-precious stone that has been prized since antiquity for its intense bluecolor) depicting a panorama of figures from all classes of Sumerian society

•Art historians refer to the long sides as the war panel and the peace panel

Sumerian

•The artist wanted to create a narrative abouthow the Sumerians won and celebrated a greatmilitary victory

•The artist divided each side panel into threehorizontal bands called registers, this storytelling technique can be seen today in comics

Figure 2-8b Peace sideof the Standard of Ur,from Tomb 779, RoyalCemetery, Ur (modernTell Muqayyar), Iraq, ca.2600 BCE. Wood inlaidwith shell, lapis lazuli,and red limestone,approx. 8” x 1’ 7”.British Museum,London.

Sumerian

•Hierarchical scale: an artistic convention inwhich greater size means greater importance

•The Standard of Ur reads from bottom to topand from left to right, starting with the war side

Figure 2-9 Bull-headed lyre(restored) from Tomb 789(“King’s Grave”), RoyalCemetery, Ur (modern TellMuqayyar), Iraq, ca. 2600BCE. Gold leaf and lapislazuli over a wooden core,approx. 5’ 5” high. UniversityMuseum, University ofPennsylvania, Philadelphia.

Sumerian

Figure 2-10 Soundbox of thelyre from Tomb 789 ("King'sGrave"), Royal Cemetery, Ur(modern Tell Muqayyar), Iraq,ca. 2600 BCE. Wood withinlaid gold, lapis lazuli, andshell, approx. 1’ 7” high.University Museum, Universityof Pennsylvania, Philadelphia.

Sumerian

Figure 2-11 Banquet scene, cylinder seal (left) and its modern impression(right), from the tomb of Pu-abi (tomb 800), Royal Cemetery, Ur (modernTell Muqayyar), Iraq, ca. 2600 BCE. Lapis lazuli, approx. 2” high. BritishMuseum, London.

Figure 2-12 Head of anAkkadian ruler, fromNineveh (modernKuyunjik), Iraq, ca. 2250–2200 BCE. Copper, 1’ 23/8” high. Iraq Museum,Baghdad.

Akkadian

•What happened? Why?

Figure 2-13 Victory stele of Naram-Sin, fromSusa, Iran, 2254–2218 BCE. Pink sandstone,approx. 6’ 7” high. Louvre, Paris.

Akkadian

•Stele: a carved stone slab used to markgraves or to commemorate historicalevents

•The image clearly proclaims Naram-Sin’smilitary and religious authority as he is byfar the largest figure (hierarchy of scale)

•He triumphantly tramples bodies of thefallen enemy, some of whom beg futilelyfor mercy

Figure 2-13 DetailNaram-Sin defeating the Lullubi

Akkadian

•In Mesopotamia a hornedhelmet symbolized divinity andpreviously had only been worn bygods

•This stele is announcing thatNaram-Sin has been deified(turned into a god)

Figure 2-13 Victory stele of Naram-Sin, fromSusa, Iran, 2254–2218 BCE. Pink sandstone,approx. 6’ 7” high. Louvre, Paris.

Akkadian

•Three stars symbolizing the gods shineabove his glorious triumph

•It is interesting to note the artist did notuse registers to create this narrative

•Clearly this art served as political andspiritual propaganda

Figure 2-16 Stele with law code ofHammurabi, from Susa, Iran, ca. 1780 BCE.Basalt, approx. 7’ 4” high. Louvre, Paris.

Babylonian

•In about 1780 BCE a successful generalnamed Hammurabi conquered all ofMesopotamia

•The capital of the new empire, Babylon,quickly became a thriving commercialcenter

•Hammurabi put together a set of lawsto help settle disputes between people inhis growing empire

Figure 2-16 Stele with law code ofHammurabi, from Susa, Iran, ca. 1780 BCE.Basalt, approx. 7’ 4” high. Louvre, Paris.

Babylonian

•Scribes carved these 282 laws into theblack basalt stele, including more thanthirty-five hundred lines of cuneiformcharacters

•Cuneiform: an ancient wedge-shapedscript used in Mesopotamia and Persia

Detail of Figure 2-16Stele with law code ofHammurabi, from Susa,Iran, ca. 1780 BCE.Basalt, approx. 7’ 4” high.Louvre, Paris.

Babylonian

•The sculptor depicted Hammurabi (left)and Shamash (right) in low, or bas-relief

•Shamash was their god of justice, note he iswearing a horned helmet and sitting on athrone to symbolize his divinity

•Shamash extends to Hammurabi a rod andring, symbolizing authority

•Hammurabi has himself depicted as havingthe god-given authority to enforce the lawsinscribed on the stele

Figure 2-21 Lamassu (winged, human-headed bull), from the citadel of Sargon II,Dur Sharrukin (modern Khorsabad), Iraq,ca. 720–705 BCE. Limestone, approx. 13’10” high. Louvre, Paris.

Assyrian

•A thousand years afterHammurabi, the Assyriansconquered Mesopotamia

•Assyrian rulers built vast palaces toexpress their power and impressconquered peoples

Figure 2-21 Alternate Viewbearded head of winged bull, fromfront right

Assyrian

•Lamassu: winged, five-leggedbulls with human heads

•Assyrian kings believed thelamassu were divine guardians whoprotected them both from humanenemies and evil spirits

Why does the lamassu have fivelegs?

Assyrian

Figure 2-22 Assyrian archers pursuing enemies, relief from the Northwest Palace ofAshurnasirpal II, Kalhu (modern Nimrud), Iraq, ca. 875–860 BCE. Gypsum, 2’ 10 5/8”high. British Museum, London.

Assyrian

•The Assyrians dominated Mesopotamia from the 9th to 7th C BCE

•Warrior-kings like Sargon II and Ashurnasirpal II decorated their palacesrooms with large, bas-relief panels

Figure 2-24 Ashurbanipal hunting lions, relief from the North Palace of Ashurbanipal,Nineveh (modern Kuyunjik), Iraq, ca. 645–640 BCE. Gypsum, 5’ 4” high. British Museum,London.

Assyrian

•The panels feature scenes chronicling the king’s military exploits anddisplaying his valor while hunting lions

Assyrian

•Although we might sympathize with the animals, this was certainly notthe artist’s intent… this was propaganda intended to glorify the king’s skilland bravery

This panel is often referred to as the “Dying Lioness”

Figure 2-25 Ishtar Gate (restored),Babylon, Iraq, ca. 575 BCE. Glazedbrick. Staatliche Museen, Berlin.

Neo-Babylonian

•The Assyrian Empire fell in 612, and anew ruler, Nebuchadnezzar II, madeBabylon the greatest city in Mesopotamia

•This is the time of Babylon’s famous“Hanging Gardens” one of the originalseven wonders of the world

•Named in the honor of Ishtar, thegoddess of love, this gate spanned aprocessional route that led to the city’stowering ziggurat, the Tower of Babel

Neo-Babylonian

•Made of dark blue, glazed bricks (alayer or coating of a vitreous substancewhich has been fired to fuse to aceramic object to color, decorate,strengthen or waterproof it)

•Horned dragons: Marduk, patron god ofBabylon

•Yellow bulls with blue hair: sacred animalsof Adad, the storm god

•Lions: symbols of Ishtar, served asdivine signs pointing the way toMarduk’s ziggurat

Figure 2-26Persepolis (royalaudience hall inthe background),Iran, ca. 521–465BCE.

Persian

•The long history of Mesopotamia culminated with the rise of the Persians

•At its height under Darius I, the Persian Empire extended from the IndusRiver to the Nile River

•Darius and his son, Xerxes built a magnificent royal citadel in Persepolis

Figure 2-26Persepolis(royal audiencehall in thebackground),Iran, ca. 521–465 BCE.

Persian

•The citadel included an enormous audience hall, or apadana, supportedby 36 colossal columns, each of which was capped by a bull’s head

Figure 2-27 Processional frieze (detail) on the terrace of the royal audience hall (apadana),Persepolis, Iran, ca. 521–465 BCE.

Persian