Assyrian art

Assyrian art.

An Assyrian artistic style distinct from that of Babylonian art (see Sumerian and Babylonian artSumerian and Babylonian art,
works of art and architecture created by the Sumerian and Babylonian peoples of ancient Mesopotamia, civilizations which had an artistic tradition of remarkable antiquity, variety, and richness.
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), which was the dominant contemporary art in Mesopotamia, began to emerge c.1500 B.C. and lasted until the fall of NinevehNineveh
, ancient city, capital of the Assyrian Empire, on the Tigris River opposite the site of modern Mosul, Iraq. A shaft dug at Nineveh has yielded a pottery sequence that can be equated with the earliest cultural development in N Mesopotamia.
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 in 612 B.C. The characteristic Assyrian art form was the polychrome carved stone relief that decorated imperial monuments. The precisely delineated reliefs concern royal affairs, chiefly hunting and war making. Predominance is given to animal forms, particularly horses and lions, which are magnificently represented in great detail. Human figures are comparatively rigid and static but are also minutely detailed, as in triumphal scenes of sieges, battles, and individual combat. Among the best known of Assyrian reliefs are the lion-hunt alabaster carvings showing Assurnasirpal II (9th cent. B.C.) and Assurbanipal (7th cent. B.C.), both of which are in the British Museum. Guardian animals, usually lions and winged beasts with bearded human heads, were sculpted partially in the round for fortified royal gateways, an architectural form common throughout Asia Minor. At Nimrud carved ivories and bronze bowls were found that are decorated in the Assyrian style but were produced by Phoenician and Aramaean artisans. Exquisite examples of Assyrian relief carving may be seen at the British and Metropolitan museums.


See R. D. Barnett, Assyrian Palace Reliefs (1960); A. Parrot, The Arts of Assyria (1961); T. A. Madhloom, The Chronology of Neo-Assyrian Art (1970); H. A. Groenewegen-Frankfort, Arrest and Movement (1987).

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Feldman points out that these two objects were made at the time Assyria emerged as an independent state, and that they are examples of a new Assyrian art identity.
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The site includes stone reliefs, winged bulls and other monumental Assyrian art.
The architecture and sculpture were heavily influenced by Assyrian art. The treatment of beards and hair, as well as the honorific placement of a ruler under a parasol, are Assyrian influenced.
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The unparalleled phrase is best explained as an adaptation and subversion of a motif from Assyrian art, in which the god Ashur is portrayed as suspended in the air, flying ahead of the swiftly moving Assyrian army.
Ideology and Propaganda in Assyrian Art. In Power and Propaganda, ed.
The palace of Ashurnasirpal II at Calah: Julian Reade, "Ideology and Propaganda in Assyrian Art," in Power and Propaganda: A Symposium on Ancient Empires, ed.
Ritual connotations underlay the meaning of Assyrian art. He also sees a "horror-comic" category in ceremonial hunts, especially in regard to enemies.
In addition, Bahrani's acknowledgement of the extremely self-conscious and self-referential nature of royal Assyrian art sets the stage for more sophisticated analyses.