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Ancient Mediterranean

3500 B.C.E.-300 C.E.

Art in this place and time focuses on funerary and palatial complexes, is influenced heavily by religion/mythology, provides us narratives, and displays of authority and wealth.

ANCIENT NEAR EAST

Historical Background

• Mesopotamia-between the Tigris and Euphrates Rivers (in modern day Iraq), is often referred to as the cradle of civilization.

• The first place where complex urban centers grew—first writing (cuneiform), cities, organized religion, government, laws, agriculture, bronze casting and the wheel.

• Focus on royal figures/gods; inspired by religion.• Artworks include: hierarchical scaling (more important people are larger),

registers (horizontal bands), stylized human forms, and narratives.• Architecture marked by ziggurats (stepped pyramid made of baked mud-

brick) and palaces.• Humans are portrayed clothed and anatomically correct, often engaged in

an activity.• Animals often have human characteristics and emotions.• Large sculptures=permanent settlements

Summerian Art

• Realistic looking figures in narratives.• Figures are cut from stone with negative space hollowed out behind

the forms. • Humans have eyes are wide open; men bare chested and wear a

kilt; women have left shoulder exposed and right covered; nudity is a sign of debasement (only slaves and prisoners); emotionless.

• Sculptures are placed on stands.• Intermixing of human and animal forms.• Hierarchy of scale• Gods symbolize power manifested in nature.• Local gods were advocates for cities in the assembly of gods;

temple was center for civic and religious life.

12. White Temple and its zigguratUruk, IraqSumerianc. 3500-3000 B.C.EMud brick

• Large settlement of over 40,000 based on agriculture and specialized labor.

• Dedicated to the sky god Anu—most important Summerian deity.• Approximately 40 feet high off the flat plain of Uruk, would have

been visible from a great distance, even over the city walls.• A ziggurat is a 4 sided platform, made of mud brick (stone

unavailable), visual and focal point of a city, temple to a god (in both religious and political aspects).

• 1500 laborers, 10 hours per day, 5 years just to build the stone revetment (facing).

• Vertical, recessed striped created pattern in sun.• The only way to the top was the steps on the north side.• The top was covered with an asphalt like material

(bitumen) and overlaid with brick

• The temple was white washed both inside and out, and would have been striking in the sunlight and is oriented to cardinal points.

• It has a tri-partite plan (long central hall with rooms on either side.• 3 entrances-did not face the ramp directly, and turn 90 degrees to

face the altar inside(“bent axis” approach).• Contained 2 staircases (a 3rd unfinished) and rooms had interior

shelves and doors.• Altar is located at the north end.• Artifacts are spare, 19 gypsum tablets reflecting temple accounting

was found, the bones of a leopard and lion were also found

• North of the white temple, a broad flat terrace, with a huge fire pit.

• A conduit ran from the south and east corners of the terrace, entering the temple from the respective doors, flowing into a pit in the center hall.

• Frontal, stylized, geometric, formal• Figures are different

heights=hierarchy of scale.• Hands are folded in gesture of

prayer.• Huge eyes (maybe in awe?) that are

spellbound, staring at the deity.• Men have bare upper chess with

skirt from waist down with a belt; beard has ripple pattern.

• Women have dress draped over one shoulder.

• Arms and feet cut away.• Pinkie in a spiral; wedged shaped

chin; double volute for ears• Inscribed on back “It offers prayers”.

Video in notes

14. Statues of votive figures, from the Square Temple at Eshnunna (modern Tell Asmar, Iraq)Sumerianc. 2700 BCEGypsum inlaid with shell and black limestone

• Figures represent mortals, placed in a temple and praying (to Abu?-minor god of plants); sometimes holding cups or branches

• Gods are physically present in statues• None are found in situ, but buried in groups under the

temple floor.• Hundreds survive.

16. Standard at Ur from the Royal Tombs at Ur (modern Tell el-Muqayyar, Iraq)

Sumerian

c. 2600-2400 B.C.E.

Wood inlaid with shell, lapis lazuli, and red limestone

Standard of Ur, Peace

Standard of Ur, War Video in notes

• Figures are frontal with broad shoulders; body shown in profile; emphasized eyes, eyebrows, and ears

• Organized in registers; figures stand on ground lines; reads from bottom to top.

• Two sides: war and peace; early example of historical narrative

• May have been used as a soundbox for a musical instrument.

• War: Sumerian king is larger, descends from chariot to inspect captives brought to him, some shown naked; in lowest register chariots advance over the dead

• Peace: food is brought in a procession to a banquet; musician playing a lyre; ruler wears a kilt made of tufts of wool and is shown larger than others.

• Reflects extensive trade network—lapis lazuli originally from Afghanistan, shells from Persian gulf, red limestone from India.

Babylonian Art

• Famous for the Stele of Hammurabi and its capital.

• Known for its order and strict laws handed down from god Shamash.

19. The Code of Hammurabi

Babylon (modern Iran)

Susian

c.1792-1750 B.C.E.

Basalt

Video in notes

• Sun god (Shamash) enthroned on a ziggurat, handing Hammurabi and rope, a ring, and a rod of kingship (signs of royal power).

• King of Babylon who united Mesopotamia in his lifetime; once a small power to a dominant kingdom under his rule; dwindled after his death

• Shamash in twisted perspective (profile and frontal); judge of sky and earth; depicted with tiara of four rows of horns; full beard; faces Hammurabi

• Text in Akkadian language; read from right to left then top to bottom in 51 columns.

• One of the earliest records of law codes; 300 codes

• Bas-relief-low relief sculpture• Hammurabi's Code

Assyrian Art

• Praise of the king, his ability to kill his enemies, valor at hunting, and his masculinity.

• Figures are stoic in all situations.

• Animals possess emotion.

• Cuneiform appears everywhere-words across a scene and figures.

• Relief sculpture (sculpture that projects from flat background) is prevalent.

25. Lamassu from the citadel of Sargon II, Dur Sharrukin (modern Khorsabad, Iraq)

Neo-Assyrian

c. 720-705 B.C.E.

Alabaster

Video in notes

• Human-headed animal (bull) guardian figures with wings, five legs (perspective).• Function is to ward off enemies bothvisible and invisible=apotropaic.• Feeling of harmony and stability.• Sargon II enclosed city with seven • gates.• The Lamassu are protective spirit placed at each gate which also serve an architectural function of supporting the entryways.• They are large, 4 meters high and wide by a meter deep.• The heads are sculpted in the round, the body in high relief.• The panels on the bottom praise his ruler and condemn those who want to harm him.

Persian Art

• At the time was the largest and greatest empire the world had seen.

• Persians erected massive structures to glorify their country and rulers.

• Characterized by columns topped by two bull-shaped capitals (top element of a column) which would have held a wooden roof.

30. Audience Hall (apadana) of Darius and Xerxes

Persepolis, Iran

Persian

c.520-465 B.C.E.

Limestone

Video in notes

• Constructed by Darius I and Xerxes I; destroyed by Alexander the Great.

• Built on an artificial platform like many other Mesopotamian structures.

• A place for elaborate ceremonies and events relating to the king.

• Mud-brick with stone façade (front of building)• Giant lamassu at gates inscribed as “The Gate of All

Nations”.• Relief sculpture depicts delegations from all parts of

empire bearing gifts.• The audience hall has 36 columns; held thousands of

people.• Columns have bell-shaped base that is an inverted

lotus, capitals are bulls or lions. • Carved into the stairs are the Immortals (King’s

Guard) who were said to always be numbered at 10,000.

• Stairs also have central relief of king enthroned with attendants; crowned prince behind him with bowing dignitaries.

• Many cultures (Greek, Egyptians, Babylonians) contributed to site.

• Perspective dwarfs the viewer.• Orderly and harmonious world is symbolized through

static processions.• Persia was the first empire known to have

acknowledged the different faiths, languages and political organizations of its subjects.

Short Essay-20 points

• This is the Code of Hammurabi. A common feature in ancient art is the depiction of a human interacting with a god.

• Include the following answers within your response:

-Who is the god in this sculpture?--Analyze how the artist has represented the interaction of humans and gods this work.