Kendra Magill ANCIENT NEAR EAST Mesopotamia
ICONOGRAPHY = SYMBOLS OF A CULTURE People honor and protect their own symbols but often destroy the symbols of adversaries as a token of dominance, or they adapt them for their own use 2
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THE ANCIENT NEAR EAST 4
KEY POINT #1 Religion Focus was on the representation of royal figures and divinities Kings depict themselves with divine attributes 5
KEY POINT #2 Cultural Exchange Works demonstrate an active exchange of ideas and styles within the Mediterranean cultures Cultures are influencing eachother 6
KEY POINT #3 Monumental Architecture Worship Fortified palaces Power and authority MESOPOTAMIA & EGYPT VIDEO 7
Schools DAWN OF CIVILIZATION ALL THE CONCEPTS THAT WERE CREATED HERE: Democracy and Law (organized government) Formal Religion Architecture with artistic intent Formalization of Art Cuneiform Writing Not to mention, the wheeled vehicle 8
SUMERIAN ARCHITECTURE Religious impact Felt the gods resided in the heavens above Used the ziggurat to reach up to them Artificial mountains to commune with the gods Made of mud bricks (no wood or stone) Would dissolve, so made the walls 20 thick and constantly reworked them Used architecture as manifestations of power 9
# 12 WHITE TEMPLE AND ITS ZIGGURAT URUK (MODERN WARKA, IRAQ). SUMERIAN. C. 3500-3000 B.C.E. MUD BRICK Sumerian cities had the temple as the center of town (the gods were most important) Builders used mud bricks (no access to stone) The ziggurat held the temple 40 feet off the ground Small temple on top to accommodate only a few (priests and community leaders) Worship took place outside 10
# 12 WHITE TEMPLE AND ITS ZIGGURAT URUK (MODERN WARKA, IRAQ). SUMERIAN. C. 3500-3000 B.C.E. MUD BRICK Cella- the central hall and the divinity s room. Reconstructed view of the White Temple The corners face the cardinal points of the compass Symbolizes the four rivers which flow from the mountain to the four world regions. The orientation also serves a more practical purpose of using the temple roof as an observatory for Sumerian timekeeping The temple was a waiting room for the gods to descend into Sumerians believed that the gods reside above the world (many religions share this belief) 11
# 12 WHITE TEMPLE AND ITS ZIGGURAT URUK (MODERN WARKA, IRAQ). SUMERIAN. C. 3500-3000 B.C.E. MUD BRICK Bent axis plan- Standard arrangement for Sumerian temples Stairway on one side leads to top, but changes direction with angular turns Separates the outer world from the realm of the deity so you must turn to face the statue of the deity Contrary to Egypt which used a more linear approach (straight axis) for temples and tombs where the statue of the deity is through multiple thresholds 12
# 12 WHITE TEMPLE AND ITS ZIGGURAT URUK (MODERN WARKA, IRAQ). SUMERIAN. C. 3500-3000 B.C.E. MUD BRICK The effort involved to build structures without stone reflects the degree of worship for their deities. Probably dedicated to Anu, the sky god (and most important Sumerian deity) 13
# 12 WHITE TEMPLE AND ITS ZIGGURAT URUK (MODERN WARKA, IRAQ). SUMERIAN. C. 3500-3000 B.C.E. MUD BRICK Buttresses spaced across surface for light and shadow pattern Whitewash on surface to hide mud brick Only base of temple remains 14
# 12 WHITE TEMPLE AND ITS ZIGGURAT URUK (MODERN WARKA, IRAQ). SUMERIAN. C. 3500-3000 B.C.E. MUD BRICK Mud-brick building Tapers outward for rain to wash off Buttress- exterior support of the walls Originally covered in ceramic tile to hid mudrick and protect the surface from detioration Four corners oriented to the compass Guardhouse at top of stairs Cella at top in the center 15
SUMERIAN ART Realistic figures and narratives define it from prehistoric art Focus is on the worshipping of the gods Figures: Nudity is a debasement, only slaves and prisoners are nude Men bare-chested with kilts Women left shoulder covered Emotionless Hierarchal scale Showing importance by the size of the figure 16
#14: STATUES OF VOTIVE FIGURES F RO M T H E S Q UA R E T E M P L E AT E S H N U N N A ( M O D E R N T E L L A S M A R ), I R AQ, C A. 2 7 0 0 B C E. G Y P S U M I N L A I D W I T H S H E L L A N D B L AC K L I M E S TO N E Hierarchy of scale Tallest is 2 6 Represent mortals, placed in a temple and praying Stand-ins for the actual person Rare example of nonroyal sculptures Overly large eyes were believed to be the windows to the soul and eternal wakefulness to their gods 17
Established conventions for the depiction of the human figure Art becomes formalized there is a specific way of representing figures 18
#16: STANDARD OF UR FROM THE ROYAL TOMBS AT UR, SUMERIAN. 2600-2400 BCE. WOOD INLAID WITH SHELL, LAPIS LAZULI, AND RED LIMESTONE Peace side Beth and Steve 19
#16: STANDARD OF UR FROM THE ROYAL TOMBS AT UR, SUMERIAN. 2600-2400 BCE. WOOD INLAID WITH SHELL, LAPIS LAZULI, AND RED LIMESTONE A box with a trapezoidal form Maybe a soundbox of a musical instrument or a military standard NARRATIVE: Each side tells a story One side shows peace The other side shows war 20
#16: STANDARD OF UR FROM THE ROYAL TOMBS AT UR, SUMERIAN. 2600-2400 BCE. WOOD INLAID WITH SHELL, LAPIS LAZULI, AND RED LIMESTONE Each side shows 3 horizontal bands (Registers) NARRATIVE The story reads from bottom to top Illustrates the roles of a Sumerian ruler 21
#16: STANDARD OF UR FROM THE ROYAL TOMBS AT UR, SUMERIAN. 2600-2400 BCE. WOOD INLAID WITH SHELL, LAPIS LAZULI, AND RED LIMESTONE Peace side: Bottom: men carry provisions on their backs Middle: attendants transport animals (spoils of war) for a banquet Top: a banquet with seated dignitaries and a king (bigger) attend a feast. Harp player entertains. 22
#16: STANDARD OF UR FROM THE ROYAL TOMBS AT UR, SUMERIAN. 2600-2400 BCE. WOOD INLAID WITH SHELL, LAPIS LAZULI, AND RED LIMESTONE Registers Historical Narrative How the Sumerians won and celebrated a great military victory 23 Hierarchy of scale
#16: STANDARD OF UR FROM THE ROYAL TOMBS AT UR, SUMERIAN. 2600-2400 BCE. WOOD INLAID WITH SHELL, LAPIS LAZULI, AND RED LIMESTONE 24
#16: STANDARD OF UR FROM THE ROYAL TOMBS AT UR, SUMERIAN. 2600-2400 BCE. WOOD INLAID WITH SHELL, LAPIS LAZULI, AND RED LIMESTONE War side: -Bottom: three mule drawn war chariots crush enemies (pick up speed across) -Middle: foot soldiers (composite view) lead captured enemies away -Top: soldiers bring captives to king (who is larger and central) Hierarchy of scale bigger figures are more important 25
BULL-HEADED LYRE ( R E S TO R E D ) F RO M TO M B 7 8 9 ( K I N G S G R AV E ), ROYA L C E M E T E RY, U R ( M O D E R N T E L L M U Q AY YA R ), I R AQ, C A. 2 6 0 0 B C E. G O L D L E A F A N D L A P I S L A Z U L I OV E R A WO O D E N C O R E, A P P ROX. 5 5 Beginning of ancient tradition of combining animals and humans Heraldic composition symmetrical on either side of central figure Composite View when figures are shown in profile and frontally at the same time 26
CUNEIFORM WRITING Pictographics Done on clay tablets Recorded earliest known epic story, Epic of Gilgamesh 27
AKKADIAN, NEO-SUMERIAN, BABYLONIAN, AND HITTITE CULTURES Sumer is taken over by the Akkadians The style of rule is different city-state rulers are not as important one king for all the city-states Art deifies the king who rules with the gods approval, not assistance Uses the Sumerian iconography in their art why? 28
AKKADIAN It s all about who s in charge 29
VICTORY STELE OF NARAM-SIN SUSA, IRAN, 2254 2218 BCE. PINK SANDSTONE, APPROX. 6 7 HIGH. LOUVRE, PARIS. Naram-Sin deifies himself First time a king is shown as a god in Mesopotamian art Registers are abandoned and the slope of the mountain is used instead Kings army is orderly, enemy is in disarray 30
NARAM-SIN DEFEATING THE LULLUBI Hierarchy of scale Largest person is the most important Composite view Shows 2 sides at once Stele Upright stone slab or pillar 31 2005 Saskia Cultural Documentation, Ltd.
War memorials Victory Stele of Naram-Sin Vietnam War Memorial 32
BABYLONIAN ART Ruled by Hammurabi Golden Age of Babylon 33
#19: THE CODE OF HAMMURABI B ABYLON (SUSA, IRAN). C 1780 BCE. B ASALT APPROX. 7 4 HIGH Written in cuneiform One of the earliest law codes ever written (282 laws) Laws prescribed penalties for everything from adultery to cutting down neighbor s trees Bas relief Composite view 34
Detail: Top of the Stele of Hammurabi 35
Detail: Sun god/god of Justice, Shamash Shamash on right (flames at his shoulders) Shamash is composite but horned headdress is in true profile some foreshortening (beard is diagonal and throne is as a slight angle) 36
Detail: Shamash, hands Hammurabi a rod and a ring Hammurabi raises hand in respect Their heads line up (implied line) but Shamash would tower over Hammurabi if standing (hierarchy of scale) 37
Detail: Shamash hands Hammurabi a rod and a ring Rod and ring establish Hammurabi s authority to build social order and to measure people s lives Rod and ring are measuring rod and coiled rope--builder s tools 38
HITTITE ART Used stone rather than mud-brick Large stones used for fortification Intimidating entrances 39
L I ON GAT E, B OGHAZKÖY, TURKEY, C A. 1 4 0 0 B C E. LIMESTONE, LIONS A P P ROX. 7 H I GH. Begins practice of placing mythical creatures or powerful animals at an entrance Symbolic of power and protection Use of stone for walls differentiates this from other Mesopotamian architecture that were made from mud-brick 40
GUARDIAN FIGURES 41
ASSYRIAN ART Relief sculptures that glorified the king Animals are expressive, people are not Domination over wild beasts shows authority of king over his people and nature Demonstrates how great King is by killing such a magnificent animal 42
CITADEL OF SARGON II DUR SHARRUKIN (MODERN KHORSAB AD), IRAQ, C A. 720 705 BCE Reflects the belief that the gods dwell in the skies Manifestation of Sargon II s power and authority Assyrians built huge palaces to show their superiority City on 50 high platform, 1 square mile Contains a ziggurat, palace complex, and a citadel Palace dominates complex Intimidates potential enemies Throne room covered in relief sculptures of the king triumphing over man and beast 43
#25 LAMASSU FROM THE CITADEL OF SARGON II, DUR SHARRUKIN (MODERN KHORSAB AD, IRAQ). NEO-ASSYRIAN. C.720-705 BCE ALAB ASTER Human-headed guardian figures Meant to ward off enemies, seen and unseen 13 10 high Winged 5 legs Front at attention Side walking 44
SMART HISTORY 45
Lamassu, Assyrian, 700 BCE Lion s Gate, Hittite, 1400 BCE Aladdin, 1992 ce 46
Assyrian archers pursuing enemies, relief from the Northwest Palace of Ashurnasirpal II, Kalhu (modern Nimrud), Iraq, ca. 875 860 BCE. Gypsum, 2 10 5/8 high. British Museum, London. BAS- R ELIEF C A RVED INTO A S U RFAC E TO CREATE A FEELING OF DEPTH ON A SHALLOW SURFAC E 47
Smart history **Assyrian lion reliefs are some of the first narrative works of art in history A S H U R B A N I PA L H U N T I N G L I O N S, R E L I E F F RO M T H E N O RT H PA L AC E O F A S H U R B A N I PA L, N I N E V E H ( M O D E R N K U Y U N J I K ), I R AQ, C A. 6 4 5 6 4 0 B C E. G Y P S U M, 5 4 48
NEO-BABYLON Created one of the greatest cities in all of ancient history Renowned for having 2 ancient Wonders of the World Hanging Gardens of Babylon Tower of Babel Very decorative 49
ISHTAR GATE (RESTORED) B ABYLON, IRAQ, C A. 575 BCE. GLAZED BRICK. STAATLICHE MUSEEN, BERLIN. Glazed brick over mud walls Animals guard the city Lions sacred to the goddess Ishtar (goddess of love) Smart history 50
#30: AUDIENCE HALL ( APADANA) OF DARIUS AND XERXES PERSEPOLIS (IRAN TODAY). PERSIAN. C. 520-465 BCE. LIMESTONE CONTEXT Patrons Darius I and Xerxes I Part of the citadel Less palace and more party rooms (festivals) Held 10,000! Equivalent to 17.5 football fields 51
#30: AUDIENCE HALL ( APADANA) OF DARIUS AND XERXES PERSEPOLIS (IRAN TODAY). PERSIAN. C. 520-465 BCE. LIMESTONE Built to impress and show power and wealth CONTENT/VISUAL Stairs lead to an apadana a great hypostyle hall Columns in apadana were 64 feet tall THE STATS: 111 stairs on each side 4 inches tall CONTENT/VISUAL Giant Lamassu gates Polychrome façade 22 feet wide 52
#30: AUDIENCE HALL ( APADANA) OF DARIUS AND XERXES PERSEPOLIS (IRAN TODAY). PERSIAN. C. 520-465 BCE. LIMESTONE 53
#30: AUDIENCE HALL ( APADANA) OF DARIUS AND XERXES PERSEPOLIS (IRAN TODAY). PERSIAN. C. 520-465 BCE. LIMESTONE Reliefs represent 23 nations in typical regional costume bringing offerings Refers to the harmonious living of the huge Persian Empire RECONSTRUCTION VIDEO 54
#30: AUDIENCE HALL ( APADANA) OF DARIUS AND XERXES PERSEPOLIS (IRAN TODAY). PERSIAN. C. 520-465 BCE. LIMESTONE FORMAL Form reliefs have amazing modeling Color reliefs, columns, capitals were brightly painted Repetition of images and columns Mostly made of mudbrick Floors paved, columns in audience hall were stone, reliefs limestone Materials from all over world 55
#30: AUDIENCE HALL ( APADANA) OF DARIUS AND XERXES PERSEPOLIS (IRAN TODAY). PERSIAN. C. 520-465 BCE. LIMESTONE Processional Frieze 56
PROCESSIONAL FRIEZE (DETAIL) ON THE TERRACE OF THE ROYAL AUDIENCE HALL (APADANA), PERSEPOLIS, IRAN, C A. 521 465 BCE. Stylized Composite view Figures are connected in some way Built entirely with paid labor as the Persians didn t allow slavery 57
#30: AUDIENCE HALL ( APADANA) OF DARIUS AND XERXES PERSEPOLIS (IRAN TODAY). PERSIAN. C. 520-465 BCE. LIMESTONE Capitals - Decorative tops to columns Post and lintel construction 58
CONTEXT #30: AUDIENCE HALL ( APADANA) OF DARIUS AND XERXES PERSEPOLIS (IRAN TODAY). PERSIAN. C. 520-465 BCE. LIMESTONE Largest Empire up to this time Monumental architecture was built to reflect their size and importance Alexander the Great destroyed it to symbolize the destruction of the Persian imperial power CONTENT/VISUAL Columns were topped with two protomes (front part of an animal) of the fiercest animals What message does this send? Animals were lions, bulls, griffins, lamassus Capitals holding a wooden roof 59
AND THEN... 60