Assyrian Art Essay Research Paper The reliefs
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
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.