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The Stele of Naram-Sin does more than commemorate the victory over the Lullibi people. The Stele of Naram-Sin contains many examples of iconography which can be interpreted as political propaganda. The visual narrative told by a 6’6” limestone relief promotes Naram-Sin as the ultimate religious and political leader. The iconography depicts Naram-Sin as a victorious leader who, in fact holds the divine right to reign as the Akkadian king. This piece of art work uses hieratic scale to show how much more important Naram-Sin is compared to everyone else. He is much bigger and there is much less background around him, this draws attention to him. The shape of the stone and the way everyone else is positioned also points directly to the leader. Naram-Sin as the leader has a strong stance and athletic build which signals domination and strength, two characteristic important to assist imperial authority. Politically, being seen as a victorious leader could be very beneficial. Naram-Sin has his own army standing just as confident as he is. His army looks directly up to him to show respect. Within the Stele of Naram-Sin there are many dead bodies and bowing warriors. In an attempt to show that Naram-Sin is powerful and mercy-less he is even standing on a defeated warrior’s body. It is also evident that Naram-Sin has just struck an enemy in the neck with his spear. The spear itself points directly back to Naram-Sin which draws attention back to him. There are even warriors falling off the side of the mountain and another enemy warrior seems to be running away and pleading for mercy or calling for help. The aggression in this image of war was intentional advertisement. The Stele of Naram-Sin could also be seen as political propaganda because it implies that Naram-Sin was god-like or had the divine right to rule. Naram-Sin’s athletic build does not only grant him importance but shows he has the “ideal figure” which is usually associated with the gods. In much of the art during this time period suns represented the gods. The suns on the stele could represent the god’s blessing Naram-Sin’s efforts to conquer this area. Because Naram-Sin is the largest, he is closest to the gods which is positive. The placement of leader also means that he is able to climb the mountain which will place him even higher to the heavens. The horns on the leader’s helmet were restricted to gods or were representations of gods during this time period. The religious elements in this art work could give Naram-Sin even more support as far as publicity and ethical appeal. In this visual narrative Naram-Sin is using political propaganda to promote imperial authority. Naram-Sin is depicted as the ultimate leader because he is strong, victorious, and closer to the gods than anyone else. The hieratic scale is the most evident piece of iconography. The artist’s vision tells story upon story which all supports imperial authority, mercy-less fighting, and respect of the gods. The details on the stele describe more the closer we pay attention.