Download Chapter 2: Ancient Middle Eastern Art

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
-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
White Temple and ziggurat, Uruk (modern Warka) Iraq, ca.
3,200-3,000 B.C.E.
mud brick
Cure Card
-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
Female head (possibly Inanna)
from Uruk (modern Warka) Iraq
ca. 3,200-3,000 B.C.E.
marble
approximately 8 in. 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
Recovered, Warka Vase, from Uruk (modern Warka) Iraq
ca. 3,200-3,000 B.C.E., alabaster, approximately 3 ft. high Cue Card
Warka Vase
from Uruk (modern Warka) Iraq
ca. 3,200-3,000 B.C.E.
alabaster
approximately 3 ft. 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
Statuettes of worhippers, from Eshnunna (modern Tell Asmar) Iraq
ca. 2,700 B.C.E., gypsum, shell, black limestone, tallest 30 in. high
• Reverential- deep respect for
something often through a ritual
• Supplication- asking or begging for
something humbly
• Surrogate- replacement or substitute
- 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
(Stele of the Vultures), from Girsu (Iraq), 2500 BCE.
Limestone fragment 2’ 6”
-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
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.
Bull-headed lyre
from Tomb 789, Royal Cemetery Ur (modern Tell Muqayyar)
ca. 2,600 B.C.E.
wood, gold leaf, lapis lazuli
approximately 65 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
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
-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 seals, ca. 2,600-2,400 B.C.E., approximately 2 in. high
Cylinder seal
from the tomb of Pu-abi
Royal Cemetery Ur
(modern Tell Muqayyar) Iraq
ca. 2,600 B.C.E.
approximately 2 in. high
Akkadian Art
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, authority
Style-balance of naturalism and
abstract patterns
-facial features distinct and lifelike
-various textures of facial hair
and accessories detailed and
distinct from one another
Art Hist.-oldest known monumental
work of hollow-cast copper
sculpture
Head of an Akkadian ruler from Ninevah (modern Kuyunjik) Iraq,
ca. 2,200 B.C.E., copper
14 3/8 in. high
Cue Card
-Bas Relief Sculpture
Function- a narrative that
commemorates the Akkadian ruler’s
defeat of the Lullubi
Content (symbols)- king wears
horned helmet=divinity; first time
king appears as a god in Meso. art
Context- images suggest discipline
and organization of king’s forces
Style- 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
Victory stele of Naram-Sinfrom Susa, Iran ca.
2,254-2,218 B.C.E.
sandstone 79 in. high
Neo-Sumerian Art
-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
Ziggurat (restored)
at Ur (modern Tell Muqayyar) Iraq
ca. 2,100 B.C.E.
mud brick
- 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
Seated statue of Gudea holding temple plan
from Girsu (modern Telloh) Iraq ca. 2,100 B.C.E. diorite 29 in. high
Babylonian Art
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
Stele with code of Hammurabi
from Susa, Iran ca. 1,780 B.C.E. basalt 88 in. high
Elamite Art
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 fabric
Meaning (symbol)- crossed hands
= fertility and queen’s role in
assuring peaceful dynastic
succession
Statue of Queen Napir-Asu
from Susa, Iran ca. 1,350-1,300 B.C.E. bronze and copper 50 3/4 in. high
Assyrian Art
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
Reconstruction drawing
of the citadel of Sargon II, Dar Sharrukin (modern Khorsabad) Iraq
ca. 720-705 B.C.E.
Function
Lamassu- man-headed bull that
warded off king’s enemies
Technique
-transported to location with ropes
and sledges (heavy)
-Sculpture partly in the round
Style
-Front view of animal still and side
in motion (5 legs)
-conceptual sculpture
(informative) instead of optical
view
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
Meaning
-every relief sculpture bore an
inscription naming Ashurnasirpal and
his accomplishments
Function
-vivid and easily legible retelling of a
decisive moment in the king’s victorious
campaign
Content (narrative or story)
-when Ashurnasirpal drive his enemy’s
forces into the Euphrates River
Style
-compressed distances & space,
enlarged humans to stand out
-compare to Naram-Sin and his men
scaling mountain
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
Function-hunting
relief glorifying king
Ashur.fighting the
king of beasts
Context: hunting
highly revered by
Assyrians; manly
virtue= to success in
warfare
-soon after Ashur.’s
reign empire began
to disentegrate
Style-straining lions’
characteristics highly
detailed
Ashurbanipal hunting lions from the North Palace of Ashurbanipal, Ninevah (modern
Kuyunjik) Iraq ca. 645-640 B.C.E.
gypsum approximately 5 ft. high
Ashurbanipal hunting lions
from the North Palace of Ashurbanipal, Ninevah (modern Kuyunjik) Iraq
ca. 645-640 B.C.E.
gypsum
approximately 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
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
Ishtar Gate (restored) from Babylon, Iraq ca. 575 B.C.E.
glazed brick
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
Function
-Ceremonial and administrative
complex on the citadel at Persepolis
Context
-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 nations
Style
-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.
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
Context
-Shapur I built great
palace
Style
-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.
Palace of Shapur I
from Ctesiphon, Iraq
ca. 250 C.E.
-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
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.”