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The Ancient Near Eastern period (5500 BCE–330 BCE) included the rise of cities, writing, social hierarchies, architecture, and elite depictions. Materials and techniques included stone, alabaster, gypsum, gold, silver, and lapis lazuli. Relief sculptures showcased on palace walls, steles, and cylinder seals. Animal symbolism was a constant theme. Rulers and deities were highly glorified through religious devotion, shown with hieratic scale to emphasize hierarchy and propaganda.
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The Sumerian (4500 BCE-2000 BCE) were known for their “innovations in language, governance, architecture and more.” Their belief systems consisted of worshipping deities and divine kings. Their culture included literature and storytelling. Temples and homes were made of mud brick, Clay for cuneiforms and sculptures, and Lápiz Lazuli for sculptures of divine beings. The art from this period, such as the temples, and relief sculptures, reflect their religious devotion and architectural innovation.
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The Warka Vase (3500 BCE) highlights the importance of religion, divine power and agriculture in the ANE period. The vase depicts a scene of worshipping Inanna, the goddess of love and a king's divine authority. We see themes of status/importance through register bands beginning in crops, to gifts for the goddess and kingship. “The precious material from which it is carved, meant it was of monumental importance.” This vase reveals divine role, agricultural wealth and social hierarchy.
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Meskalamdugs helmet (2600 BCE) is a golden helmet that may have been a “ceremonial headdress”. It features engraved to represent hair with holes so the king could hear through the helmet. Its design and valuable mineral suggests that it was for important occasions and to signify power and status. This work shows “advanced skill in goldsmithing” reflecting the importance of cultural and divine authority.
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The Votive figure of Ebih-Il (2400 BCE) showcases the importance of deities and divine power. The figure consists of lapis lazuli eyes which were considered a valuable mineral, and is clothed in goat fur, depicting the idea of power and importance. The use of “expensive materials” and pose of prayer indicates that he was a very important symbol or deity. This piece reveals the religious and status importance during the period through symbols of positions and use of precious resources.
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The Akkad (2400 BCE-1940 BCE) was a central era of “rivalry between Akkad and Ur.” The Akkadian empire prioritized power, and a militaristic nature. Materials used consisted of bronze for sculptures of powerful rulers. Bronze was considered a difficult material to destroy which emphasizes the idea of power. Portraits of divine rulers may have been used as a symbol of victory or ritual functions. This period is reflected upon societal values of war, leadership and divine authority.
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The Victory Stele of Naram-Sin (2250 BCE) depicts Naram-SIn leading his army up a mountain as “vanquishes Lullubi people who fall before him.” It showcases three deities or gods at the top of the piece to depict belief in a higher entity granting Naram-sin power. There are relief carvings of heretic scale, alongside soldiers, and enemies at the lowest point. This period consisted of powerful rulers, depicting military success and leadership to power and victory.
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Babylon (1897 BCE-539 BCE) was an empire “that stretched throughout the entire Fertile Crescent.” Their beliefs centered around the worship of Marduk who “began as the city god of Babylon” reflecting their importance of religion and deities. Materials consisted of inscribed cylinders, stone and baked clay tablets. Art reflected this period as a symbol of political power from authority of rulers like Hammurabi, and how beliefs and propaganda were essentially intertwined with these ideas of power.
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The Stele of Hammurabi (1780 BCE) depicts Hammurabi as “the king who made four quarters of the earth obedient.” Showcasing his position of power. The stele shows Hammurabi receiving laws from the god “Shamash”, emphasizing Hammurabi’s role as the chosen one or prophet. This inscription highlights Hammurabi as king and divine being through religious propaganda. This piece reveals the importance of leadership and religious beliefs in a greater being and laws for an organized Babylon society.
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The Assyrian (884 BCE-631BCE) society was highly militaristic, built on fighting and conquering. Their culture was “brutal” with enemies beheaded and tortured. The artwork was made of “large scale limestone reliefs” depicting scenes of war and lion hunting showcasing power and strength. The king's divine authority and ability showcased propaganda, importance of public power, values of dominance and courage, as they were essential themes during this time.
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The Assurnasirpal II Killing Lions relief, (860 BCE) is a gypsum wall panel showcasing a lion-hunting scene. King Assurnasirpal II is depicted in a chariot, shooting at nearby lions and crushing one in the process. This piece highlights a sense of power propaganda, as killing a powerful animal may symbolize a gain of power. This scenery demonstrates the king's ability, emphasizing his role as a strong ruler. This period relied on leadership and power as a symbol of authority and divine strength.
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The Lamassu sculpture (859 BCE) is meant to showcase a guardian figure guarding entrances and gates of Assyrian palaces. The figures depict a “human-headed, winged lion” with a bull horn headdress symbolizing divinity and power. Its pose depicts motion emphasizing a sense of protection and presence. The full figure itself is very symmetrical and showcases precise sculpting ability of the artists of the time. Overall, the sculpture symbolizes strength, divine protection, and royal authority.
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The Ashurbanipal his Queen in the Garden Relief (635 BCE) depicts a king and queen in a lush garden scene being worshiped and catered through workers/slaves. Its purpose is to showcase royalty, hierarchy, and victory through the beheaded enemy that hangs on their wall. This piece reflects Assyrian values of power and sophistication. This artwork emphasizes the Assyrian ideals of victory, divine authority, and monarchy.
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Persia (550 BCE-330 BCE) was known as “the dominant nation of Western Asia for over twelve centuries.” The society was reflected in political systems and diverse cultures including Greece and Rome. Art consisted of intricate stone inscriptions and relief sculptures and materials used were stone and limestone. Monuments/palaces depicted divine authority and royalty. Heretic scale reliefs served as a form of propaganda, asserting the empire’s dominance and the ruler’s divine right.
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The Cyrus Cylinder (539 BCE) depicts the efforts of Cyrus ton restore temples and religious practices. He called himself “King of the world” as he was chosen by Marduk to restore order and peace. This showcases the idea of religious propaganda and the cylinder depicts the aftermath. In the cylinder, Cyrus claims to have restored temples and religious values. Overall, this piece emphasizes on divine authority, and Cyrus role as a ruler and legitimate importance on religion during this time.
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The Behistun Inscription (486 BCE) depicts a ruler called Darius I, stepping on the body of an overthrown king, facing nine others who claimed to be powers of authority. The use of Hieratic scale being inflicted onto Darius I, showcases the divine power given to him by the gods while one others are seen smaller and less of importance. This piece reflects the power of propaganda, divine authority, and importance of royalty being established through the Persian.
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The Apadana Audience Hall (465 BCE) in Persepolis Iran, served as a ceremonial space for worship. Its purpose was to scholastic Persian power and unity through symbolic animals being depicted at the top of the 72 columns, as a form of royal authority and kingship. The large scale and elaborate sculptures reveal the Persian values on hierarchy, strength, and divine power.