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Chapter 4/Hoofstuk 4
Cuneiform Clay Tablet, Mesopotamia, 5000 years old
The Greeks gave the name as a description to the area between the Tigris and Euphrates by joining the words “mesos” meaning middle, and “potamos” meaning river.
It is known today as Iraq.
It was the beginning of “civilisation” because people started cultivating food instead of gathering.
This civilization originated mainly because of the fact that farmers produced a surplus of food. This fertile stretch of land was also called the Fertile Crescent.
The communities became larger. The new “civilised” way of living gave the people time to do other things.
People started to divide themselves into groups relating to important aspects of their society, such as religion, leadership and labour.
Government, laws and formal religion also contributed to the development of writing, measuring instruments, metal work and ceramics.
Money replaced the traditional system of exchange.
The SUMERIANS are also known for their development of a system of gods whereby the relationship between mortal humans and gods were defined. Important events were recorded through cuneiform writing.
Kings were not seen as gods but rather as representatives of the gods. Any form of human power was subjected to the power of spirituality and the gods, and this had to be acknowledged by the ruling monarch.
They believed in a large variety or pantheon of gods. Each god represented one of the creative and destructive forces of nature. Each community served a different god (and that god alone), and the protection of the city was under the said god. The city was owned by this god, the holy ruler.
The priests assisted the kings in the control of the city. The hierarchy was first the god, then the king, then the priest that assists the king.
In ancient civilisations art was always influenced by religion, and made in service of it. The main idea was that art had magico-religious-properties. Art was created to honour the gods and to protect the faithful.
Art was also made to honour the kings who were the representatives of the gods on earth.
The Sumerians believed that a sculpture was not only a copy of something but had life of its own. The god that was represented by the sculpture was present in it. These representations were used to obtain the favour of the gods.
Kunsvorme word beperk deur wat beskikbaar was- hout was skaars en steenwas die tweede keuse.
Steen was ook nie in oorvloed beskikbaar nie, die doel van baie van die militere ekspidisies was om ‘n verskeidenheid stene te vind wat gebruik konword vir kunswerke.
Verskillende stene wat gebruik was: DIORIET- donker, kristalagtige rots met graniet tekstuur. Vanag Persiese Golf
ingevoer. KALK EN SANDSTEEN- vrylik beskikbaar in Mesopotamië. GIPS ALBASTER- ingevoer vanaf Assirië.
Verskillende edelstene wat gebruik was: LAPIS LAZULI- ‘n half edelsteen met ‘n helder blou kleur AGAAT- KARNEOOL-
Edelstene is gebruik om klein voorwerpe soos silinderseëls te skep en moesingevoer word van verder oos- Afganistan, India, Siberia.
Group of twelve 3D statues- consists of human figures in varying heights.
Carved out of Gypsum: a very soft mineral that is found in alabaster, used as a decorative stone in Egypt and Mesopotamia.
Largest figure: 76cm. This figure and the female figure (slightly shorter), are thought to represent gods.
The larger figures represent priests and the smaller figures represent worshippers.
The size of the statues correspond with the hierarchy in Mesopotamia.
These figures were found in the temple of Abu, the god of vegetation, and were used as special votive statues during rituals to honour the gods.
As statues were thought to have their own lives- these figures appear to be CONSTANTLY praying for the community.
The statues of Tell Asmar- physically
All the figures are rigid, up straight, looking to the front with hands clasped in front of their bodies. Poses signify praying.
Figures are motionless. One foot is slightly in front of the other. Unrealistic proportions, more attention to the heads. This is done
intentionally. The body is seen as unimportant, only there to support large head.
Faces are varied and individual, but they all seem naive. No physical distinction between male and female- difference is
identified through clothing. Men: bare chest, skirt with long fringes. Woman: larger draping covering left shoulder. Exposed areas of bodies have little detail. Large goggle eyes- attention on the gods while praying. Eye cavities: white shells+lapis lazuli or black limestone (pupils). Prominence/colour of eyes draw attention, looks alive. Hair and beards are stylised, used to be covered in bitumen. Above eyes there is a line that forms continuous eyebrow. Was
most likely filled with bitumen.
Two sets of wooden frames held mosaics together. Set in Bitumen Found in a large grave (royalty?), next to the right
shoulder of a man. The fragmented pieces was reconstructed into a box,
purpose unknown. The box is unusual. Consists of 2 large panels with
the end pieces forming triangles. Mosaic: shell from the Gulf, lapis lazuli, red
limestone, set in bitumen. Evidence of the prosperity of the community. (import and skilled craftsmen)
The two sides, dubbed the “War Side” and the “Peace Side,” tell a story read from bottom to top.
The top register on each side depicts a king, who is larger in scale than the other figures.
The Standard shows the two most important roles of an early Mesopotamian ruler: the warrior who protected the people and secured access to water and natural resources and the leader who served as an intermediary between the people and the gods.
War side Shows the defeat of some unknown enemy. At the bottom, war carts, drawn by donkeys, race with
increasing speed from left to right, trampling naked enemy soldiers.
The second register shows a phalanx of armed soldiers to the left, while on the right soldiers in a variety of poses dispatch some captives and lead others away.
The top register shows the ruler, his height exceeding the border of the field, facing right. Behind him, his cart is drawn by four donkeys alongside his attendants. In front of him, soldiers parade nude and bound prisoners.
Sources provide evidence of peaceful cooperation among city-states, they equally record conflicts, both local disputes and more wide-ranging conquests
Peace side Peace side has a completely different theme from the War side. Its two lower registers illustrate the bounty of the land. The bottom one
depicts men carrying produce in bags on their shoulders and in backpacks supported by headbands, as well as men leading donkeys by ropes.
The second register shows men leading bulls and caprids (sheep and goats) and carrying fish, presumably the produce of the pastures, rivers, and swamps.
The upper register depicts a royal banquet. The ruler, wearing a kilt composed of tufts of wool, is shown larger in scale than the others—the center of attention.
The other banqueters, who wear plain-fringed kilts, face him and raise their cups together while attendants provide food and drink.
Banqueting in early Mesopotamia usually involved music. A lyre player and a singer, distinguished by their long black hair, stand to the right of the scene.
In addition to being a warrior, the city-state’s ruler was an intermediary between the gods and the people. One of his major responsibilities was to build and maintain the temples of the city’s gods and goddesses, a responsibility that included provisioning their cults. In doing so he guaranteed the fertility of the land, which the Standard’s Peace side so vividly illustrates.
Azaria Mbatha: “The Revelation of St. John”
John MuafangejoA man is hunting an eland in forest and skinning it 1979
