Assyrian Art Essay Research Paper The reliefs

8 August 2017

Assyrian Art Essay, Research Paper

The alleviation from the castle of King Assurnasirpal

II at Nimrud play an of import function in portraying the power and importance

of the Assyrian male monarch. These alleviations are similar to other Assyrian

alleviations in footings of their intent ; nevertheless, there is a contrast in the

methods used to laud the male monarch. By analyzing such factors as manner,

iconography and historical significance, we find many similarities and

differences between the & # 8220 ; ceremonial & # 8221 ; alleviations and the more common alleviation

picturing war and hunting.

The alleviation belonging to the sacred or

& # 8220 ; ceremonial & # 8221 ; category consist of panels picturing a sacred tree, a human

headed mastermind fertilising a sacred tree, a gryphon fertilising a sacred

tree, and a scene of King Assurnasirpal ( whose name comes from the God

& # 8220 ; Assur & # 8221 ; ) followed by a winged mastermind. Dating to about 870 B.C. , these

alleviations were originally located in the anteroom to the royal throne

hall and in the life room where it would hold been viewed by distinguished

invitees. Because of their location and larger than life size, the

alleviation & # 8220 ; ? instill in the perceiver a sense of awe and fear for the

male monarch? . & # 8221 ; ( Art History Anthology 28 ) . Furthermore, the alleviations overwhelm

the spectator by picturing the male monarch & # 8217 ; s power and god-like deity through

propagandistic iconography and stylisation.

To portray the male monarch & # 8217 ; s god-like deity,

the reliefs represent the divinities and Assurnasirpal in a similar mode.

First of all, hierarchal graduated table is about absent since all the figures are

closely related in size, with Assurnasirpal being merely somewhat shorter

than the divinities. In historical context, this shows that Assyrian

male monarchs were closely associated with divinities, but were non considered Gods

themselves. This deficiency of hierarchal graduated table is besides seen in the Lion

Hunt of Assurbanipal, where king Assurbanipal is shown somewhat larger

than his retainers.

Second, the divinities and Assurnasirpal

are similar in stance and stylisation. All the figures have their

caput and legs shown in profile, while the trunk is shown center frontlet.

In add-on, the figures maintain a stiff perpendicular stance with their weaponries

extended in either consecutive lines or are stiffly set into a ninety-degree

angle. In the 3rd panel, both a winged divinity and Assurnasirpal

are depicted facing towards the right with their left pess frontward ; nevertheless,

in contrast, the homo headed mastermind and the gryphon mastermind are confronting

towards the left with their right pess frontward. Because of their

stiff stance, these figures extremely contrast the motion and action shown

in the hunting scenes of Assurbanipal and war scenes of Assurnasirpal.

In term of stylisation, both the homo

headed divinities and Assurnasirpal have really stylized hair falling in heterosexual

locks to the dorsum of their cervixs ; moreover, they possess extremely stylized

face funguss of intricate moving ridges and coils which end equally at the underside.

Because these characteristics are similar to that of Assurbanipal and the fabulous

bullmen at the castle at Khorsabad, it can be construed that it is & # 8220 ; a hairdo

feature of royalty and deity likewise & # 8221 ; ( Art History Anthology 28 ) .

Traveling on to the facial look, we find that all the human headed figures

incorporate big superciliums, big eyes that are profoundly undercut, an extended

nose, conventionalised ears, and extremely conventionalized lips which appear

as a simple slit. On the other manus, the beardless gryphon has an

eagl

e’s caput adorned with a plume headgear and a curving beak with a

long lingua. To demo the strength of the divinities and Assurnasirpal,

the creative person depicts musculuss within the weaponries and legs through simple lines

and curves. This manner of picturing the facial and organic structure characteristics is common

in other Assyrian alleviations including the hunting scenes of Assurbanipal.

Although there are many similarities in organic structure construction, there is besides a

typical component that separates the divinities and the male monarch. Each divinity

possesses a set of four extremely stylized wings made up of really elaborate

plumes. Besides the usage of stance and stylisation, vesture is used as

a agency of exposing the male monarch & # 8217 ; s importance in relation to the Gods.

Again a similarity between the divinities

and Assurnasirpal is shown through their garb. Each one is dressed

in a similar manner in both heavy short-sleeved adventitias that come down

to the articulatio genuss, and ankle-length shawls that contain geometric designs and

tassels along the hem. The figures besides possess accoutrements such

as watchbands, necklaces, earrings and a brace of stickers. Besides of import

is the royal cap, which identifies Assurnasirpal as a male monarch, every bit good as

the bow he holds, which is a symbol of & # 8220 ; might and military art & # 8221 ; ( Art

History Anthology 28 ) . The brace of stickers and the symbolism of the

bow are of import to the Assyrian civilization because they portray their war-like

nature. This war-like nature is a common factor that relates these

& # 8220 ; ceremonial & # 8221 ; alleviations to the alleviations described by Henri Frankfort in The

Art and Architecture of the Ancient Orient. Another item typical

of the alleviation from the castle of King Assurnasirpal II, are the sandals

that the divinities and the male monarch wear. In contrast to the war and hunting

scenes where the figures wear boots, the sandals worn express the peaceableness

in the & # 8220 ; ceremonial & # 8221 ; alleviations. As we can see, vesture and accoutrements

play an of import function in picturing the male monarch & # 8217 ; s comparing to the Gods as

good as the similarities and differences with other Assyrian alleviations.

Finally, the action taking topographic point within

the & # 8220 ; ceremonial & # 8221 ; reliefs exhibit the power and importance of the male monarch.

First away, the panels picturing the divinities fertilising the sacred tree

are of import. The sacred tree is shown artistically in a symmetrical

mode with entwining subdivisions, stylized foliages, and a fan of foliages

above the bole. The winged masterminds are fertilising the sacred tree with

a day of the month flower in their right manus and keeping a sacred pail in their

left. In add-on, panel three shows a winged divinity following Assurnasirpal

with his right manus raised over the male monarch & # 8220 ; in a gesture of blessing and

Godhead protection & # 8221 ; ( Art History Anthology 28 ) . By puting these alleviations

in his anteroom and life room, Assurnasirpal & # 8220 ; emphasizes the sacred

character of the Assyrian male monarch, elected by the Gods, although non himself

of Godhead substance & # 8221 ; ( Frankfort 87 ) .

In decision, we find that the alleviation

from the castle of King Assurnasirpal II play an of import function in exhibiting

the power and importance of the male monarch. While an Assyrian male monarch & # 8217 ; s power

can be depicted is a war-like mode by his military might, we learn that

& # 8220 ; ceremonial & # 8221 ; alleviations are besides effectual by puting the male monarch in relation

to Gods. The power and importance of the male monarch is shown through a peaceable

mode that extremely contrasts the scenes of decease and contending found in

such alleviations as the king of beasts Hunt of Assurbanipal and the conflict scene of Assurnasirpal.

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