Style Characteristics (Formal properties) in portrayal of humans in Mesopotamian art…. Evaluate the communicative stylistic and formal visual aspects of Mesopotamian art and its iconography: Depiction of human figure: Always adherence to a canon of proportion-with variations to suggest individual, show status, or illustrate narrative… As diety: In human form with a few alterations to denote status-particularly animal qualities Conceptual view-how does the twisted torso make the goddess appear in Warka vase? Clothed Larger/taller/higher up As mortals: As individuals As symbols of human existence As elements of a narrative Often naked Smaller/less significant/lower in composition Higher than animals Linked to natural world and godly world

When we have to really link our analysis to Our judgements Hierarchical Scale: The powerful person is larger than others or in center. Monumental Scale: The image is very large. Idealizing the Face: Showing him/her young, blemish free, attractive and/or old and dignified—whatever is valued as perfect in that society… Distorting or Idealizing the Body: Giving the person a strong muscular body, or as is the case in Byzantine art, no body at all. The Pose: Having a person standing or sitting upon a horse makes them look more powerful. Gestures can have a symbolic significance. Placing the person in a setting that evokes Power: a throne room, or performing a miraculous act. The Costume: In some societies certain clothing is reserved for those who have power –sometimes it is a color-other times there are symbols of power ON the clothing…. Relationship to other styles/things/people/environment-the image is shown in comparison to something else or in reference to or association with someone or something else (CONTENT) Subject matter/narrative activities demonstrate a skill or superiority (CONTENT)  Symbols or writing accompany the image to suggest something that can’t be directly seen within the image (CONTENT) TO REVIEW:

TO SUMMARIZE: Sumerian art:

Sumerian Sculpture Characteristics Characteristics of Ancient Sumer that influenced later civilizations… -registers -large eyes, inlaid -small hands and feet -composite view -hierarchy of scale/proportion -cuneiform -deities – conceptual, larger, taller, animal components -mortals – individuals, symbols of human existence -idealized face and body -settings that evoke power -heraldic composition Nudity and clothing in heirarchy Sumerian Sculpture Characteristics

Sumeria eventually evolves to be led by Kings-and out of this is born the Akkadians With the Akkadians-the idea was a united nation-no more individual city-state gods and goddesses….now Sumerian art has to glorify the monarch….but USES much of the same techniques and devices to do so because that is the existing PARADIGM….

THE VICTORY STELE OF NARAM-SIN Victory stele of Naram-Sin, Iran, 2254-2218BCE

Figure 2-13 Detail Naram-Sin defeating the Lullubi © 2005 Saskia Cultural Documentation, Ltd.

DEFINING CULTURAL IDENTITY THROUGH ART Humans are at the center of existence Gods and humans live in a heirarchy Nature serves as a bridge between humans and the deities Gods and goddesses appear as versions of humans Technical and Formal properties are measured/careful and restrained in their execution. What formal devices are used here to help us understand the content of this narrative? Are there any characteristics of power in portraiture at work? Humans are at the center of existence Gods and humans live in a heirarchy Nature serves as a bridge between humans and the deities Gods and goddesses appear as versions of humans Technical and Formal properties are measured/careful and restrained in their execution. What formal devices are used here to help us understand the content of this narrative? Are there any characteristics of power in portraiture at work? Akkadians: Victory stele of Naram-Sin, Iran, 2254-2218BCE

HEAD OF AN AKKADIAN RULER Head of an Akkadian ruler, from Nineveh (modern Kuyunjik), Iraq, ca. 2250–2200 BCE. Copper, 1’ 2 3/8” high. Iraq Museum, Baghdad.

Akkadian Influence of Mesopotamia clear Deliberately destroyed for its Reference to a specific culture? Pattern and order even clearer in The rhythmic organized design Of the beard How is slippage used here to Symbolize power and control? Figure 2-12 Head of an Akkadian ruler, from Nineveh (modern Kuyunjik), Iraq, ca. 2250–2200 BCE. Copper, 1’ 2 3/8” high. Iraq Museum, Baghdad.

Akkadians driven out by Kings of Ur who rule for 100 years…THIS IS THE TIME OF GUDEA…

Ur This King offered statues of himself to the Goddesses…in a standing pose-he is linked to The Goddess by HOLDING HER PICTORIAL SYMBOL: the Tigris and Euphrates Rivers Flowing from a cup. This probably also alludes To his role in providing irrigation canals and Further glorifies the King more than the Goddess herself…. Here he holds the ground plans direct from the God of building-clearly serving to affirm the King’s key role as go-between of the gods And the physical world…. Figure 2-15 Seated statue of Gudea holding temple plan, from Girsu (modern Telloh), Iraq, ca. 2100 BCE. Diorite, approx. 2’ 5” high. Louvre, Paris.

How are the technical properties here Contributing to a sense of power and Authority? Figure 2-19 Statue of Queen Napir-Asu, from Susa, Iran, ca. 1350–1300 BCE. Bronze and copper, 4’ 2 3/4” high. Louvre, Paris.

Figure 2-19 Alternate View total from left Even without the head, what Could you “read” in the visual Language of this piece that tells Use something about the individual Or might help us guess something About the culture it came from? Figure 2-19 Alternate View total from left © 2005 Saskia Cultural Documentation, Ltd.

The third millennium is chaotic but it gives rise to the Babylonians by way of Hammurabi. Babylon is the cultural center of Sumer and Hammurabi’s self-proclaimed connection to the sun god breeds justice in all of Sumer…..

Ishtar Gate

Hammurabi’s Code Stele

the king who made the four quarters of the earth obedient. HAMMURABI the king who made the four quarters of the earth obedient. This basalt stele was erected by King Hammurabi of Babylon (1792–1750 BC) probably at Sippar, city of the sun god Shamash, god of justice. Executed in the last years of the sovereign's life, it was a political testament aimed at future princes, for whom it offered a model of wisdom and equity. The Code also served as a literary model for the schools of scribes, who were to copy it for over one thousand years.

BABYLONIAN First example of attempted Foreshortening in the body of Hammurabi….(narrative device and relevance Of the piece) Position of the figures in relationship to Each other can be read carefully to Understand the content. (narrative device) Here the enlargement of the eye of each and The connection of gaze may be a bit of Slippage from the Sumerians (context of power Language) The space they occupy is specific but Generic as well-it is not as relevant as WHAT is being shown….(like a scene in a play- The backdrop is part of the narrative device How would this serve to codify the Supremacy of the laws below? Figure 2-16 Stele with law code of Hammurabi, from Susa, Iran, ca. 1780 BCE. Basalt, approx. 7’ 4” high. Louvre, Paris.

a historical prologue relating the investiture of King Hammurabi in his role as "protector of the weak and oppressed," and the formation of his empire and achievements; a lyrical epilogue summing up his legal work and preparing its perpetuation in the future; these two literary passages frame a text describing almost three hundred laws and legal decisions governing daily life in the kingdom of Babylon. The legal part of the text uses everyday language and is here simplified, for the king wanted it to be understood by all. However, the legal decisions are all constructed in the same manner: a phrase in the conditional sets out a problem of law or social order; it is followed by a response in the future tense, in the form of the sanction for the guilty party or the settlement of a situation: "Should an individual do such and such a thing, such and such a thing will happen to him or her."

The principal subjects are family law, slavery, and professional, commercial, agricultural and administrative law. Economic measures set prices and salaries. The longest chapter concerns the family, which formed the basis of Babylonian society. It deals with engagement, marriage and divorce, adultery and incest, children, adoption and inheritance, and the duties of children's nurses.

Babylon survives as an empire until 1595BCE when the Hittites and then the Kassites take up residence….. Meanwhile-a small northern city-state gains its independence…. Until 612BCE, the ASSYRIAN EMPIRE is the enormous power of the land-eventually even invading Lower Egypt….

What is important to the artists and patrons who commissioned this work?

Depicts multiple viewpoints of the same event to tell as thoroughly as Possible –an adaptation of conceptual view of one animal to show it As clearly as possible…… They are actually floating on inflatable pigskins… THE ASSYRIANS WERE TO THE SUMERIANS WHAT THE ROMANS WILL BE TO THE GREEKS-BIG OLE COPIERS!!!! But….there are new uses for old techniques and devices-and this makes for new effects….. Egyptian Influence in narrative format noted here as well…. Figure 2-22 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.

Here –the narrative has an immediacy we have not seen before-and man is presented as having total dominion over nature-similar elements of narrative device are being used BUT other elements are changing according to the new themes…. Here we see the story told in detail in a SPECIFIC setting that details multiple viewpoints so as not to leave anything out… This is quite large-exactly the height of Ms Dowdy in shoes…. ASSYRIAN 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.

WHY was this piece made? What is the Point of it? HOW does it get its point across? What kind of sensory experience would you Have with this piece?

LAMASSU: Symbols combining man, bull, and bird, they offered protection against enemies. They also had a strictly architectural function, as they bore some of the weight of the arch above An inscription on two panels between the hind legs of the bull praises the ruler by rehearsing his virtues and calls down a curse on whomever should seek to harm the edifice.

ASSYRIAN Lamassu: A winged man-headed bull As a guardian at the gate of the palace. An innovation in composite/conceptual View: from the front –he is at rest and From the side in motion-all his relevant Parts exist (discuss problem of the 5th leg) 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.

Neo-Babylonians, Persians and Achaemenids rule for centuries but when Alexander the Great comes on the scene, the end of Sumer as we have seen it begins….

Approx. 525ish to 330ish BCE PERSIANS

-man-headed bulls (city gates) known as Lamassu -platforms (palace at Persepolis) -huge audience halls (palace at Persepolis) -reliefs CUT INTO CLIFFS (triumph of Shapur I over Valerian) -breaking through borders (king) (triumph of Shapur I over Valerian) Power

Sassanian How is this work different in form Than the portraits from earlier Mesopotamian periods? This work is influenced by the Greeks And exported to influence motifs in The Christian West as well as the Islamic Traditions further east. Detailed extraordinary metalwork is Typical of the Sassanians Figure 2-29 Head of a Sasanian king (Shapur II?), ca. 350 CE. Silver with mercury gilding, 1’ 3 3/4” high. Metropolitan Museum of Art, New York.