The Rise of Civilization: The Art of the Ancient Near East 1ART ID 111 | Study of Ancient Arts

Slide concept by William V. Ganis, PhD NYIT Center for Teaching and Learning with Technology

With modifications by Arch. Edeliza V. Macalandag, UAP

Chapter Objectives

Identify the formal and iconographic characteristics of ancient Near Eastern art and architecture

Explain the relationship of art, architecture, and religion in the ancient Near East

Describe early writing systems and their impact on Mesopotamian cultures

Discuss the function of religious and secular art and architecture

Identify instances of intercultural exchange between ancient Near Eastern civilizations and other parts of the ancient world

Explain the materials and techniques of ancient Near Eastern art and architecture

The Ancient Near East (ANE)refers to early civilizations within a

region roughly corresponding to the modern Middle East: – Mesopotamia (modern Iraq and northeastern

Syria), – Ancient Egypt, – Ancient Iran (Elam, Media, Parthia and Persia), – Anatolia (modern Turkey), and – the Levant (modern Syria, Lebanon, Israel,

Jordan, Cyprus, and Crete)

The Ancient Near East (ANE)began with the rise of Sumer in the

4th millennium BC, though the date it ends varies: – either covering the Bronze Age and the Iron

Age in the region, – until the conquest by the Achaemenid Empire

in the 6th century BC – or Alexander the Great in the 4th century BC

ANE: The Cradle of Civilization

•first to practice intensive year-round agriculture

•gave the rest of the world the first writing system

• invented the potter's wheel and then the vehicular and mill wheel

ANE: The Cradle of Civilization

•created the first centralized governments, law codes, empires

• introduced social stratification, slavery, organized warfare

• laid the foundation for the fields of astronomy and mathematics

ANE Empires

1. SUMER2. AKKADIA3. NEO-SUMER4. BABYLONIA5. ELAM

6. ASSYRIA7. NEO-BABYLONIA8. ACHAEMENID

PERSIA9. SASANID

Sumerian Art

About Sumer• located in southern Mesopotamia• the earliest known civilization in the world• first civilization to practice intensive, year-

round agriculture (c. 5000BC) showing the use of core agricultural techniques, including:– large-scale intensive cultivation of land, – mono-cropping, – organized irrigation, and – the use of a specialized labour force.

• site of early development of writing

The Sumerian Temple• A small brick house that the god was supposed to

visit periodically. It was ornamented so as to recall the reed houses built by the earliest Sumerians in the valley.

• This house, however, was set on a brick platform, which became larger and taller as time progressed until the platform at Ur (built around 2100 BC) was 150 by 200 feet (45x60M) and 75 ft (23M) high.

• These Mesopotamian temple platforms are called ziggurats, a word derived from the Assyrian ziqquratu, meaning "high." – the ziggurat at Ur was planted with trees to make it

represent a mountain. There the god visited Earth, and the priests climbed to its top to worship.

White Temple and ziggurat

Uruk (modern Warka) Iraqca. 3,200-3,000 B.C.E. | mud brick

White Temple and ziggurat

Uruk (modern Warka) Iraqca. 3,200-3,000 B.C.E. | mud brick

White Temple and ziggurat

Uruk (modern Warka) Iraqca. 3,200-3,000 B.C.E. | mud brick

- temple erected at Warka or Uruk (Sumer), 300 B.C.

- stood on a brick terrace, formed by the construction of successive buildings on the site (the Ziggurat). The top was reached by a staircase.

- measured 22 x 17 meters (73 x 57 feet). Access to the temple was through three doors, the main located at its southern side.

- not only the focus of local religious practice but also an administrative & economic center.Image source

Female head (possibly Inanna)

from Uruk (modern Warka) Iraqca. 3,200-3,000 B.C.E.marbleapproximately 8 in. high

RECOVERED

Practically all Sumerian sculpture served as adornment or ritual equipment for the temples. No clearly identifiable cult statues of gods or goddesses have yet been found. Many of the extant figures in stone are votive statues, as indicated by the phrases used in the inscriptions that they often bear: "It offers prayers," or "Statue, say to my king (god). . . ."

Warka Vase

from Uruk (modern Warka) Iraqca. 3,200-3,000 B.C.E.

alabasterapproximately 3 ft. high

RECOVERED

– On the upper tier is a figure of a nude man that may possibly represent the sacrificial king. He approaches the robed queen Inanna. Inanna wears a horned headdress.

– The Queen of Heaven stands in front of two looped temple poles or "asherah," phallic posts, sacred to the goddess.

– A group of nude priests bring gifts of baskets of gifts, including, fruits to pay her homage on the lower tier.

Warka Vase

from Uruk (modern Warka) Iraqca. 3,200-3,000 B.C.E.

alabasterapproximately 3 ft. high

SOME MISSINGTell Asmar StatuesFrom Eshnunna (modern Tell Asmar) Iraq

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

The statues average about 42 centimeters in height. They are of men and women with large staring eyes, upturned faces, and clasped hands, dressed in the skirts of the Early Dynastic period of Mesopotamia.

Tell Asmar StatuesFrom Eshnunna (modern Tell Asmar) Iraq

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

The Asmar statues were modeled from processed gypsum (calcium sulphate). The ancient technique involves firing gypsum at about 300 degrees Fahrenheit until it becomes a fine white powder (called plaster of Paris). The powder is then mixed with water and then modeled and/or sculpted.

They are believed to represent gods and goddesses and their worshipers. The largest male figure is thought to represent the god Abu, based on symbols carved into the base.

This is an example of artistic iconography. We learn to read picture symbols - bodies are cylindrical and scarcely differentiated by gender, with their uplifted heads and hands clasped. This is a pose of supplication-wanting or waiting for something.

Tell Asmar StatuesFrom Eshnunna (modern Tell Asmar) Iraq

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

Image Source

Standard of Ur

from Tomb 779, Royal Cemetery Ur (modern Tell Muqayyar) Iraq

ca. 2,600 B.C.E.wood, shell, lapis lazuli, red limestoneapproximately 8 x 19 in.

Standard of Ur (war side)

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

Chariots, each pulled by four donkeys, trample enemies; infantry with cloaks carry spears; enemy soldiers are killed with axes, others are paraded naked and presented to the king who holds a spear.

Standard of Ur (peace side)

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

The 'Peace' panel depicts animals, fish and other goods brought in procession to a banquet. Seated figures, wearing woollen fleeces or fringed skirts, drink to the accompaniment of a musician playing a lyre. 

"Peace," detail showing lyrist and possibly a singer.

Image Source

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

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

The lyre’s panel depicts a hero grasping animals and animals acting like humans—serving at a banquet and playing music typically associated with banquets. The bottom panel shows a scorpion-man and a gazelle with human features. The scorpion-man is a creature associated with the mountains of sunrise and sunset, distant lands of wild animals and demons, a place passed by the dead on their way to the Netherworld.

Ram in a thicket

from Tomb 789, Royal Cemetery Ur (modern Tell Muqayyar) Iraqca. 2,600 B.C.E.gold, silver, lapis lazuli, copper, shell, red limestone, bitumen 42.6 cm. high

– Recovered from Ur's Great Death Pit Goat standing on its hind legs, framed by gold branches with rosettes.

– Bodies are made from a wooden core applied with gold and silver;

– The goat's fleece were constructed from shell in the lower half and lapis lazuli in the upper.

– The goats' horns are made of lapis.

Cylinder seals

ca. 2,600-2,000 B.C.E.approximately 2 in. high

MANY MISSING

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

The headdress of gold, lapis lazuli, and carnelian includes a frontlet with beads and pendant gold rings, two wreaths of poplar leaves, a wreath of willow leaves and inlaid rosettes, and a string of lapis lazuli beads.

Queen Puabi’s headdress. discovered on Queen Puabi’s body from the tomb of Pu-abi Royal Cemetery Ur (modern Tell Muqayyar) Iraqca. 2,550 B.C.E.approximately 2 in. highGold, lapiz lazuli, carnelian

Image Source

Akkadian Art

About Akkad• Succeeded Sumer• Agade or Akkad’s semitic monarchs united

the region, bringing the rival Sumerian cities under their control by conquest

• Reached political peak bet. the 24th and 22nd centuries BC, following the conquests of king Sargon of Akkad (2334-2279 BC), often referred to as Sargon the Great.

• Sometimes regarded as the first empire in history, though there are earlier Sumerian claimants

Head of an Akkadian ruler

from Ninevah (modern Kuyunjik) Iraq

ca. 2,250-2,200 B.C.E.copper

14 3/8 in. high

MISSING

Victory stele of Naram-Sin

from Susa, Iran

ca. 2,254-2,218 B.C.E.sandstone | 79 in. high

Victory stele of Naram-Sin

from Susa, Iran

ca. 2,254-2,218 B.C.E.Sandstone | 79 in. high

Cylinder seal with kneeling nude heroesca. 2220–2159B.C.; Akkadian ,MesopotamiaRed jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) Source

Neo-Sumerian Art

Image Source

About Neo-Sumer

• The Akkadian Empire was overthrown by the nomadic Gutians, known for their leader Gudea of Lagash.

• This brief period (ca. 2100-2000 BCE) was called, "Neo-Sumerian" for resurrecting the Sumerian language in their writings.

Great Ziggurat of Ur

Ur (modern Tell Muqayyar) Iraq

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

Great Ziggurat of Ur (restored)

Ur (modern Tell Muqayyar) Iraq

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

Reconstruction of Ur -

Nammu's ziggurat,

based on the 1939

reconstruction by Woolley

Image Source

Image Source

This sculpture belongs to a series of diorite statues commissioned by Gudea, who devoted his energies to rebuilding the great temples of Lagash and installing statues of himself in them. Many inscribed with his name and divine dedications survive. Here, Gudea is depicted in the seated pose of a ruler before his subjects, his hands folded in a traditional gesture of greeting and prayer.

Seated statue of Gudea

from Girsu (modern Telloh) Iraq

ca. 2,100 B.C.E. | diorite | 29 in. highImage Source

The Sumerian inscription on his robe lists the various temples that he built or renovated in Lagash and names the statue itself, "Gudea, the man who built the temple; may his life be long."

Image Source

Seated statue of Gudea holding temple plan

from Girsu (modern Telloh) Iraq

ca. 2,100 B.C.E.diorite

29 in. high

Babylonian Art

About Babylonia• The land was once more united by Semitic

rulers (about 2000-1600 B.C.). • The most important ruler was Hammurabi of

Babylon. • The most original art of the Babylonian period

came from Mari.• An abundance of clay, and lack of stone, led

to greater use of mudbrick; Babylonian temples were massive structures of crude brick, supported by buttresses, the rain being carried off by drains.

The Code of Hammurabi• a well-preserved Babylonian law code,

dating to ca. 1700 BC (short chronology)• one of the oldest deciphered writings of

significant length in the world• The sixth Babylonian king, Hammurabi,

enacted the code, and partial copies exist on a human-sized stone stele and various clay tablets

The Code of Hammurabi• consists of 282 laws, with scaled

punishments, adjusting "an eye for an eye, a tooth for a tooth" (lex talionis) as graded depending on social status, of slave versus free man.

• Hammurabi ruled for 42 yrs (1792 -1750 B.C.) in the preface to the law code, he states, "Anu and Bel called by name me, Hammurabi, the exalted prince, who feared God, to bring about the rule in the land.

Prologue of the Code of Hammurabi (the 305 first inscripted squares on the

stele). Some gaps in the list of benefits bestowed on cities

recently annexed by Hammurabi may prove the

tablet is older than the celebrated basalt stele (also

in the Louvre). Clay, early 18th century.

Code of Hammurabi on clay tablet Image Source

Stele with code of Hammurabi

from Susa, Iran

ca. 1,780 B.C.E. | basalt | 88 in. high

Stele with code of Hammurabi

from Susa, Iran

ca. 1,780 B.C.E. | basalt | 88 in. high

Glossary .Apadana – The great audience hall in

ancient Persian palaces.Arch – A curved structural member that

spans an opening and is generally composed of wedge-shaped blocks (voussoirs) that transmit the downward pressure laterally.

City-state – An independent, self-governing city.

Glossary .Cuneiform – Latin, “wedgeshaped.” A

system of writing used in ancient Mesopotamia, in which wedge-shaped characters were produced by pressing a stylus into a soft clay tablet, which was then baked or otherwise allowed to harden.

Glossary .Cylinder seal – A cylindrical piece of stone

usually about an inch or so in height, decorated with an incised design, so that a raised pattern was left when the seal was rolled over soft clay. In the ancient Near East, documents, storage jars, and other important possessions were signed, sealed, and identified in this way.

Facade – Usually, the front of a building; also, the other sides when they are emphasized architecturally.

Glossary .Lamassu – Assyrian guardian in the form of a

man-headed winged bull.Lapis lazuli – A rich ultramarine semiprecious

stone used for carving and as a source for pigment.

Pictograph – A picture, usually stylized, that represents an idea; also, writing using such means; also painting on rock.

Stele – A carved stone slab used to mark graves or to commemorate historical events.

Glossary .Standard – a structure built for or serving as

a base or supportVotive offering – A gift of gratitude to a

deity.Ziggurat – In ancient Mesopotamian

architecture, a monumental platform for a temple.

Sources:Introduction to Prehistoric Art, 20,000–8000 B.C. | Thematic Essay | Heilbrunn

Timeline of Art History | The Metropolitan Museum of Art. Art Through the Ages, 12th/11th ed., Gardnerhttp://websites.swlearning.com/cgi-wadsworth/course_products_wp.pl?

fid=M20b&product_isbn_issn=0155050907&discipline_number=436http://en.wikipedia.org/wiki/Ancient_Near_Easthttp://www.metmuseum.org/toah/hd/edys/hd_edys.htmhttp://www.huntfor.com/arthistory/ancient/mesopotamia.htmhttp://www.iranchamber.com/art/articles/art_of_elamites.php