Chapter 2: Ancient Middle Eastern Art

Mesopotamia: the cradle of civilization

• Also known as the Fertile Crescent and presumed locale of the biblical Garden of Eden

• Humans first used the wheel, controlled floods, constructed irrigation canals, invented writing

• First complex urban societies; city states• May have been first culture to tell coherent stories• Fundamental change in daily life• Mesopotamia= land between the rivers in Greek• Gave birth to world’s great modern faiths- Judaism,

Christianity, Islam

Sumer• Located in todays Southern Iraq between Tigris and Euphrates

rivers (fertile crescent of ancient world)• Not unified nation, but comprised of city-states under

protection of different Mesopotamian dieties (gods and goddesses)

• Rulers were gods’ representatives on earth and stewards of earthly treasure

• Rulers and priests directed all communal activities• Specialization of labor hallmark of first complex urban

societies-manufacturing, trade, administration• Inventors of writing-pictographs-cuneiform-(tool, stylus)• Trade essential; lacking natural resources(metal, stone, wood)• Produced literature- Epic of Gilgamesh, predates Homer’s

Illiad and Odyssey by 1,500 years

White Temple and ziggurat

Uruk (modern Warka) Iraq

ca. 3,200-3,000 B.C.E.mud brick

White Temple and ziggurat, Uruk (modern Warka) Iraq, ca. 3,200-3,000 B.C.E.mud brick

Cure Card

-temple at citie’s nucleus-gods played central role in daily life-bent axis- stairway leads to top but not in front of temple doors-formed of mud bricks-desire to produce grandiose settings for worship of deities-white-washed walls-temple stands atop platform or ziggurat-corners oriented to cardinal points of compass-probably dedicated to Anu (sky god)-temple reaching towards sky consistent with widespread religious concept -neo-Sumerian period

Female head (possibly Inanna)

from Uruk (modern Warka) Iraq

ca. 3,200-3,000 B.C.E.marbleapproximately 8 in. high Cue Card

RECOVERED

-is this Inanna or priestess?-marble a precious material-only the face, back is flat with drilled holes for rest of body (wood)-original appearance much more vibrant with colored shell/stone eyes, wig of gold leaf, clothing of fine fabrics and bedecked with jewels-disappeared during Iraq war, has since been recovered-polytheism- many gods/goddesses

Recovered, Warka Vase, from Uruk (modern Warka) Iraq

ca. 3,200-3,000 B.C.E., alabaster, approximately 3 ft. high Cue Card

-from Uruk (modern Warka)-first great work of narrative relief sculpture-iconography-depicts a religious festival of men and animals in honor of the goddess Inanna or symbolic marriage between goddess and priest- king-registers or friezes- bands dividing the picture plane-figures placed on common ground lines unlike earlier stone age artists--rams and ewes shown strict profile like earlier stone age artists-Context- agriculture and animal husbandry staple of Sumerian economy-Iconography- symbols of fertility (Inanna blessed Uruk’s inhabitants with good crops and increased herds-Votive offering- gift of gratitude to a deity usually made in fulfillment of a vow-nude men shown in composite position-tall female figure with horned headdress and two large poles= Inanna (taller = higher status)-partially clothed man= priest king, also taller

Warka Vase

from Uruk (modern Warka) Iraq

ca. 3,200-3,000 B.C.E.alabasterapproximately 3 ft. high

Statuettes of worhippers, from Eshnunna (modern Tell Asmar) Iraq

ca. 2,700 B.C.E., gypsum, shell, black limestone, tallest 30 in. high

-Some missing

-Function- ritualistic, surrogate for donor offering constant prayr to diety with arms clasped reverentially, in supplication, awe

-size of figures refers to hierarchy (not gods or goddesses, citizens of Uruk)

-Materials- gypsum, inlaid shell, black limestone

-many bear inscriptions of name of donor or god

-disproportionate open eyes symbolize eternal wakefulness necessary to fulfill duty

• Reverential- deep respect for something often through a ritual

• Supplication- asking or begging for something humbly

• Surrogate- replacement or substitute

(Stele of the Vultures), from Girsu (Iraq), 2500 BCE. Limestone fragment 2’ 6”

- Theme is war- Stele- carved stone slab that

commemorates a historical event or mark a grave

- Cuneiform inscription- Depicts victory of King

Ennatum…importance shown by larger size

- Early effort to record historical events and gives insights into Sumerian society

Standard of Ur

from Tomb 779, Royal Cemetery Ur (modern Tell Muqayyar) Iraq, ca. 2,600 B.C.E., wood, shell, lapis lazuli, red limestone, , approximately 8 x 19 in.

-found in Royal Cemetary at Ur along with many luxurious items-leading families buried dead in vaulted chambers beneath earth-in richest tombs bodies sacrificed (servants/musicians, to accompany kings and queens-wooden box inlaid with lapis lazuli from Afghanistan, shell, red limestone-uncertain function (military standard?...or war side and peace side… or first and second part of single narrative)-ass drawn chariots crush enemies, foot soldiers gather captured foes, soldiers bring bound captives to kinglike fig.-placement in composition and size = authority

Bull-headed lyre

from Tomb 789, Royal Cemetery Ur (modern Tell Muqayyar)

ca. 2,600 B.C.E.wood, gold leaf, lapis lazuliapproximately 65 in. high

Bull-headed harp with inlaid soundbox

from Tomb 789 King’s Grave, Royal Cemetery Ur (modern Tell Muqayyar)

ca. 2,500 B.C.E., wood, gold leaf, lapis lazuli,approximately 3’ 8 1/8 “ in. high

-narrative scenes of animal characters and a king-lowest register depicts king and gazelle in composite view-most animals in composite view, top register shows in heraldic view (symmetrical in either side of center figure)-meaning unclear-early specimen of recurring theme in art and literature of animals acting as people

Cylinder seals, ca. 2,600-2,400 B.C.E., approximately 2 in. high

-could be made of stone, ivory, or glass-prized possessions only owned by those in high positions-carried into afterlife-Queen Pu- abi’s seal says her name in cuneiform script-stone engraved to produce a raised impression when rolled over clay-same figure types and compositional rules to depict a banquet-composite view-seated dignitaries larger in scale to show elevated position in social heierarchy

Cylinder sealfrom the tomb of Pu-abi Royal Cemetery Ur (modern Tell Muqayyar) Iraqca. 2,600 B.C.E.approximately 2 in. high

Akkadian Art

Head of an Akkadian ruler from Ninevah (modern Kuyunjik) Iraq,ca. 2,200 B.C.E., copper 14 3/8 in. high Cue Card

Context-new concept of absolute monarchy (total loyalty to king instead of city-state)Function-In light of absolute monarchy, sculpture conveys king’s majestic serenity, dignity, authorityStyle-balance of naturalism and abstract patterns

-facial features distinct and life-like-various textures of facial hair and accessories detailed and distinct from one another

Art Hist.-oldest known monumental work of hollow-cast copper sculpture

Victory stele of Naram-Sinfrom Susa, Iran ca. 2,254-2,218 B.C.E.sandstone 79 in. high

-Bas Relief SculptureFunction- a narrative that commemorates the Akkadian ruler’s defeat of the LullubiContent (symbols)- king wears horned helmet=divinity; first time king appears as a god in Meso. artContext- images suggest discipline and organization of king’s forcesStyle- Enemies depicted in many different postures

-king and his soldiers in composite view-daring innovations: landscape setting, figures placed in successive tiers instead of registers for first time

Neo-Sumerian Art

Ziggurat (restored)

at Ur (modern Tell Muqayyar) Iraq

ca. 2,100 B.C.E.mud brick

-One of largest ziggurats built

-Techniques used: baked bricks and bitumen (asphalt-like substance)

Historical Context- third dynasty of Ur known as Neo-Sumerian age-Meso. drove Gutians out of Mesopotamia and ruled once more

Seated statue of Gudea holding temple plan

from Girsu (modern Telloh) Iraq ca. 2,100 B.C.E. diorite 29 in. high

- Materials- polished diorite (an imported and difficult stone to carve)-Gudea seated and on lap is plan of temple-statues are a testimony to his piety, wealth, and pride-Gudea built or rebuilt great temples for his statues

Babylonian Art

Stele with code of Hammurabi

from Susa, Iran ca. 1,780 B.C.E. basalt 88 in. high

Historical/Social Context- Babylonian king, Hammurabi formed a set of 300 laws for his people-some parts of Europe were still in stone age-laws governed all aspects of Babylonian life (infidelity, inheritances, treatment of women, slaves)

Materials- black basalt stone

Technique- high relief

Content/symbols- (builders tools) convey ruler’s capacity to build social order and to enforce laws-3,500 lines of cuneiform characters

Elamite Art

Statue of Queen Napir-Asufrom Susa, Iran ca. 1,350-1,300 B.C.E. bronze and copper 50 3/4 in. high

Function- votive offering to gods Style- cylindrical form typical of Meso. sculpture-tight silhouette, strict frontality, and firmly crossed hands held close to body -features based on close observation: feminine arms, bust, hands, jewelry, patterned fabricMeaning (symbol)- crossed hands = fertility and queen’s role in assuring peaceful dynastic succession

Assyrian Art

Reconstruction drawing

of the citadel of Sargon II, Dar Sharrukin (modern Khorsabad) Iraq

ca. 720-705 B.C.E.

Historical Context- Assyrians defeated many nations and ruled a vast empire

-Assyrian kings created image of themselves as merciless to those who oppose and forgiving to those who submitted

-palaces were fortified citadels

Lamassu (winged human headed bull)

from the citadel of Sargon II, Dar Sharrukin (modern Khorsabad) Iraq

ca. 720-705 B.C.E. limestone 13 ft. 10 in. high

FunctionLamassu- man-headed bull that warded off king’s enemiesTechnique-transported to location with ropes and sledges (heavy)-Sculpture partly in the roundStyle-Front view of animal still and side in motion (5 legs)-conceptual sculpture (informative) instead of optical view

Assyrian archers pursuing enemies

from the Northwest Palace of Ashurnasirpal II, Kalhu (modern Nimrud) ca. 870 B.C.E.gypsum 2 ft. 10 3/8 in. high

Meaning-every relief sculpture bore an inscription naming Ashurnasirpal and his accomplishmentsFunction-vivid and easily legible retelling of a decisive moment in the king’s victorious campaignContent (narrative or story)-when Ashurnasirpal drive his enemy’s forces into the Euphrates RiverStyle-compressed distances & space, enlarged humans to stand out-compare to Naram-Sin and his men scaling mountain

Ashurbanipal hunting lions from the North Palace of Ashurbanipal, Ninevah (modern Kuyunjik) Iraq ca. 645-640 B.C.E. gypsum approximately 5 ft. high

Function-hunting relief glorifying king Ashur.fighting the king of beastsContext: hunting highly revered by Assyrians; manly virtue= to success in warfare-soon after Ashur.’s reign empire began to disentegrateStyle-straining lions’ characteristics highly detailed

Ashurbanipal hunting lions

from the North Palace of Ashurbanipal, Ninevah (modern Kuyunjik) Iraq

ca. 645-640 B.C.E.gypsumapproximately 5 ft. high

Neo-Babylonian Art

Historical Context(605-562 BCE.)

- Nebuchadnezzer II restored Babylon to its rank as one of the great cities of antiquity

- in book of Daniel, bible- famous hanging gardens one of 7

wonders of world- Tower of Babel

Ishtar Gate (restored) from Babylon, Iraq ca. 575 B.C.E. glazed brick

Technique/ Materials- mud brick city, blue glazed

bricks on most important monuments

- molded and glazed each brick separately, then set into wall

-reliefs of animals (real and imaginary)

Style -arch flanked by 2 towers-alternating animals shown in profile

Achaemenid Persian Art

Historical Context- Cyrus of Persia captured Babylon in 6th century (500’s

BCE.)- -21st century = 2000’s 19th century = 1800’s- Egypt fell to Achaemenids in 525 BCE. and by 480 BCE.

had largest empire in history thus far.- Achaemenid line ended with death of Darius III in 330

BCE. to Alexander the Great

Palace of Darius I and Xerxes I Persepolis, Iran ca. 521-465 B.C.E.

Function-Ceremonial and administrative complex on the citadel at PersepolisContext-36 animal topped colossal columns of stone inspired by Greek columns-reliefs decorating walls show procession of royal guards, Persian nobles, dignitaries, from 23 subject nations-bringing tribute to king-each figure wearing distinctive apparel of his nation-artist were taken from many nationsStyle-forms more rounded, project more, also inspired by Greeks(drapery folds)

Palace of Darius I and Xerxes I

Persepolis, Iran

ca. 521-465 B.C.E.

Sasanian Art

Historical Context-Alexander the Great’s conquest of Achaemenid Empire in 330 BCE marks beginning of long period of Greek/Roman rule-but new power takes over in Persia that challenges Romans and forces them out (Sasanians)-1st Sasanian king Artaxerxes 211-241 CE. founded New Persian Empire in 224 CE-260 CE Shapur I captured the Roman emperor, Valerian-New Persian Empire lasted more than 400 years until Arabs drove Sassanians out of Mesopotamia in 636 CE

Palace of Shapur I

from Ctesiphon, Iraq

ca. 250 C.E.

Context-Shapur I built great palaceStyle-central feature was monumental iwan (brick audience hall)-covered by massive vault-blind arcades on facade

Palace of Shapur I

from Ctesiphon, Iraq

ca. 250 C.E.

Triumph of Shapur I over Valerian

from Bishapur, Iraq

ca. 260 C.E.rock-cut relief

-Reliefs showing Shapur’s triumph of capturing Valerian the Roman Emperor-Islamic architects thousands of years later considered Sasanian architecture a standard for judging their own

Triumph of Shapur I over Valerian

from Bishapur, Iraq

ca. 260 C.E.rock-cut relief

1. Discuss how many artworks are used to celebrate a ruler’s accomplishments- even if they did not actually occur. Give specific examples from art and architecture in this chapter.

2. How did the Persian art and the later Sasanian art differ from other art of Mesopotamia.

3. Compare the architecture of the Neo-Sumerian ziggurat with the city of Babylon and the fabled “Tower of Babel.”