art of the ancient near east part 1

Art of the Ancient Near East Part 1

SUMERIAN ART, 3,000 BCE

SUMERIAN CITY STATES• Settled in Mesopotamia – birth place of Judaism (Garden of Eden),

Christianity and Islam• Continued the development of sustainable agriculture: canal construction,

crop collection and distribution• These developments allowed portions of the population to focus on

manufacturing , trade and administration• Complex Urban Societies called CITY STATES • THEOCRACY: Each CITY STATE was under the rule and protection of

different Mesopotamian deities• Sumerian kings were the god’s representatives on earth and they directed

all communal activities of their CITY STATE• Monumental temples were erected in honor of the Gods and their power

on Earth• Often at war with each other – WAR and power are common themes in

Sumerian art.

Writing

Pictographs – pictures standing in for words

Cuneiforms – clay tablets carved with wedged shaped forms – beginning of writing

Epic of Gilgamesh pre-datesThe Odyssey. Tells the storyof the legendary King of Uruk.

What are the facts? (F)

Artist: Trades PeoplePatron: Rulers of SumerTitle: White TempleDate: 3,000 BCESize: MonumentalLocation: Uruk, Modern Iraq

What is the medium and technique? (M)

No access to stone.Constructed ofMud Bricks

How is the structure constructed? (FA)

Temple (cella)

Ziggurat

Bent-axis Plan

Why was it created? (CA)

1. Physical Location- Theocratic society and the central role of god’s in daily life- The main temple dedicated to the city’s chief god, Anu (sky god). - Temple was the nucleus of the city.

2. Patron- Priest-King, City

3. Historical Events- Constant war and disease = fear of Gods

4. Concepts and Ideas- Temples were called waiting rooms: believed the deity would

descend from the heavens and appear before the priests and rulers in the cella.

- Commercial and administrative decisions tied to worship and ritual

• Devices used to declare sacred spaces– Exclusivity– Material wealth / decoration– Ritual and Ceremony– History of location adding to the site

MEANING / FUNCTION? (MF)

- Discuss how the building’s exclusivity, material wealth and ritual function support the religious beliefs and political system of its time?


Artist: Trades PersonPatron: Citizen of SumerTitle: Sumerian Votive OfferingDate: 3,000 BCESize: VariesLocation / findspot: Square Temple at Eshnunna


Carved Stone, with shell and Black Limestone eyes

What is the artworks content / subject matter? (SM)

Mortal rather than deities - Worshippers

How is the subject matter visually represented? (FA)- Standing or sitting- Hierarchial scale- Simple forms: cones and cylinders- Stiff- Frontal, hands clasped- Clothing and hair, physical types- Large eyes, awe, fear

WHY WAS IT CREATED (CA)

1. PHYSICAL LOCATIONPlaced in temples facing altars or statues of Gods

2. PATRONCommissioned by worshippers for specific gods.

3. HISTORICAL EVENTSConstant threat of war and disease = fear of death

4. CONCEPTS AND IDEASTheocracy, belief in an unpleasant afterlife FUNCTION? (MF)

Surrogate for worshipper, offering constant prayer, awe and reverence to the God to ensure a long life.

Discuss how Sumerian society and beliefs shape the form and function of the artwork?


Artist: Trades PersonPatron: Sumerian AristocrayTitle: Standard of Ur (War and Peace)Date: 3,000 BCESize: VariesLocation / findspot: Royal Cemetary, Ur


Mosaic: Wood, lapis lazuli, shell and red limestone

What is the artworks content / subject matter? (SM) - War- Peace

How is the subject matter visually represented? (FA)Narrative Devices:- 3 Registers. Read left to right. Bottom to top- Sequential ordering of story:- 1: Narrative Frieze of battle- 2: Gathering and leading away the conquered foe- 3: Delivering the captured- Hierarchy of Scale- Twisted perspective, Conceptual representation


1. PHYSICAL LOCATIONPlaced in burial chamber

2. PATRONCommissioned by family members of the dead or the aristocrat himself.

3. HISTORICAL EVENTSMay depict actual war and the victory celebration

4. CONCEPTS AND IDEASExpresses the idea that the Sumerian King has two principle roles: Mighty warrior and chief administrator who, with the blessing of the Gods, assures the prosperity of the land during peacetime

• Meaning / Function?• Meaning: Communicates two sides of Sumerian

society and the Duties of the King• Function: Unknown objectExplain how the narrative devices used in the Standard of Ur make meaning?

ART OF LATER MESOPOTAMIA & PERSIA

• Akkadian 2200 BCE• Neo-Sumerian 2100 BCE• Babylonian 1750 BCE• Hittite 1500 BCE• Assyrian 1000 BCE• Neo-Babylonian 500 BCE• Persian 350 BCE

POWER AND AUTHORITY

• Sumer City States come under rule of outsider, Sargon of Akkad

• Sargon’s name means “True King”

• Empire brings new concept of royal power as loyalty to the king rather than the city-state

• Theocracy turns to Monarchy• King is likened to a God – has

God-like sovereignty

Vandalized head of Akkadian Ruler


Artist: UnknownPatron: Naram-Sin (Akkadian)Title: Victory Stele of Naram-SinDate: 2,250 BCESize: 6’ 7”Location / findspot: Susa, Iran


Carved Stone Relief


Naram-Sin leading his army up a mountain


HISTORICAL EVENTTo commemorate the victory of battle in a violent an unstable time

PATRON / CONCEPTNaram-Sim: King as God

How is the subject matter visually represented? (FA)

- The king stands alone at the top, taller than the rest – rising into the heavens like a ziggurat

- He wears a horned helmet signifying divinity gained through victory

- He steps on the fallen bodies of his enemies

- Enemies are in disarray while his army is ordered = rule / order

- Artists no longer using a horizontal frieze.

- Tells story by placing figures in a landscape

MEANIG / FUNCTION (MF)


Artist: UnknownPatron: Hammurabi (Babylon)Title: Stele with the laws of HammurabiDate: 1,780 BCESize: 7’ 4”Location / findspot: Susa, Iran


Bas relief


Top: Shamash (sun God) presentingKing with a rod and ring symbolizingAuthority

Below: Code of Law


HISTORICAL EVENTSReturn of City States – Babylon is a City StateThe conception of written law codes

PATRON Hammurabi - establishes his authority as a divined leader, pious theorcrat and micro-manager

CONCEPTS/IDEASLeadership and order –Society needs clear social ruleLaw is divine – Precursor to Judeo/Christian beliefs


- Hammurabi raises hand in respect to Shamash

- Nearly same size a the god

- Shamash hands him a rod and circle

- Symbols are builders tool = builder of social order

- Twisted perspective. - Foreshortening and depth

MEANING/FUNCTION (MF)


Artist: UnknownPatron: Sargon II - Assyrian Royalty Title: LamassurDate: 720 BCESize: 13’ 10”Location / findspot: palace, Iraq


Lamassu = Winged, man-headed bull


HISTORICAL EVENTSAssyrian EmpireMindful of possible attackBuilt citadels – fortified palaces

LOCATIONPlaced at entrance to throne room – ward off king’s enemies

CONCEPTKing as ruler or all – including beasts living and mtyhological


- Massive and immobile = intimidating guardian figure

- Visually intimidating monster –Possibly face of the king because wearing go crown

- High relief

- Twisted perspective = 2 distinctive views

- Stylized patterns and naturalism

MEANING/FUNCTION (MF)


Artist: UnknownPatron: Ashurnasipal IITitle: LamassurDate: 875 BCESize: 2’ 10”Location / findspot: Palace, Iraq



LOCATIONPlaced walls– Assyrian kings decorated palace walls with narratives establishing their authority

HISTORICAL EVENTS / PATRON documentary detail in artwork. Every relief is inscribed with Ashurnasirpal’s name and describing his accomplishments

How is the subject matter visually represented? (FA)- Condenses space to tell the story clearly- Enlarges human actors so they stand out – they are bigger than the architecture- Uses multiple perspectives to capture decisive moment in history

Meaning/Function (MF)

What is the artworks content / subject matter? (SM)Ashunasirpal driving enemies into the Euphrates

NEO - BABYLON: IT’S MASSIVE ZIGURAT BECAME IMMOTALIZED AS THE TOWER OF BABYLON IN THE BIBLE

Nebuchadnezzar (604-561 B.C.E.) largely rebuilt this ancient city including its walls and seven gates.

What are the facts? (F)Artist: UnknownPatron: Nebuchadnezzar (neo-Baylonian)Title: Gates of IshtarDate: 575 BCESize: MonumentalLocation / findspot: Babylon, Iraq



Mud Brick glazed with lapis lazuliBricks treated like a mosaic


PATRONRecord of the kings triumphs and contributions to the empire

HISTORICAL EVENTSRebirth of Babylonian Empire – conquered Jerusalem Great building campaign to reinstate glory and authority of Babylon and its king

LOCATIONSurround / Fortified the city but also welcomed friendly guests

CONCEPTVisual wealth is a signifier of triumph.Architecture as an intimidatorArchitectural decoration as a signifier of God-like control and order

What are the visual characteristics of the structure? (FA)

- Processional leading to the gate lined with nearly life size lions – lions are at eye level, ferocious but under the order and control of the king = fear of the king

- Lions are the symbol of the God Ishtar (god of war and wisdom)

- Aruk (ancient bull) is the symbol of the god Adad – god of storms and fertility of the land and harvest = under the king’s rule the aruk ensures prosperity

- Blue lapis glaze + expensive, and visually stunning – testimony to grandeur, intimidaing and impressive

Nebuchadnezzar’s Inscription

• I Nebuchadnezzar laid the foundation of the gates down to the ground water level and had them built out of pure blue stone. Upon the walls in the inner room of the gate are bull and dragon, and thus I magnificently adorned them with luxurious splendor for all mankind to behold in awe.

• Discuss how the presentation of the subject matter that adorn the Gates of Ishtar express Nebuchadnezzar’s power and authority.

art of the ancient near east part 1

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