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Sumerian art (4500-2334 B.C.E.) was characterized by its use of clay tablets, stone, alabaster, and bronze. The emergence of the Sumerian Empire is known for its rich religious functions, as evident in its many sculptures, pottery, Architecture, and cylinder seals. These artifacts are dedicated to deities or votive offerings, and often feature prayers to gods on their behalf. They also depict narrative scenes and use symbols to reflect their beliefs and stories.
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( 29,00-2350 B.C.E ) A religious devotion among the ancient people of Mesopotamia. They are small to medium-sized, geometric stone statues with large, wide-open eyes, inset with materials such as shell and lapis lazuli, featuring static facial expressions as they face forward, their hands clasped in front of their chests or waist. Additionally, men appear to wear fringed skirts, while women wear long robes draped over one shoulder. They serve as a stand-in symbol of humility and unending prayer. -
Ur-Nanshe (2550-2500 B.C.E.) the early dynastic period, a limestone low-relief carving featuring two divided horizontal registers at the top, depicting a man carrying a basket on his head, accompanied by women and four male figures. At the bottom, he is seated in a chair, holding a drink in his hand, surrounded by people, plus it has a hole in the center. Highlighting his role in the temple's building and preserving order at the bottom register of the celebration marking the temple's completion. -
Akkadian (2334-2154 B.C.E.) was characterized by its use of Bronze, stone, and clay. The emergence of the Akkadian Empire is notable for its more abstract style, as it aimed for realism and naturalism to capture lifelike details, primarily when representing the human figure or glorifying a ruler and their accomplishments, leading to more three-dimensional and finely detailed sculpture.
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(2254-2218 B.C.E) The Akkadian innovation in art and political ideology is represented by a pink limestone structure depicting a prominent figure wearing a horned helmet in an ascending posture on a mountain, with many small figures in disciplined rows behind it. At the bottom, there is a chaotic disarray. Featuring a powerful celebration of military prowess, as the troops march victoriously over defeated enemies, it serves as a warning to others of the consequences of defying Akkadian rule. -
(2250-2200B.C.E.)The artistic political idea of the Akkadian Empire is its blend of naturalism and abstract pattern, which is highly detailed. It features a naturalistic depiction of its face, accompanied by a stylized geometric pattern in the hair, beard, and eyebrows, and a realistic nose, mouth, and facial structure, all executed with accuracy. It's an ideal portrayal of the king's divine and earthly presence, and he is powerful, with a somber facial expression. -
Neo Sumerian (21112-2004 B.E.C.) art was characterized by its use of stone, bronze, and clay. The emergence of the Neo-Sumerian Empire is known for its focusing on motionless and formal art. It represented a return to the stylistic tradition and values of earlier Sumerian art, a serene majesty rather than realism and naturalism that was preceded in the Akkadian period, but they do have some influence seen in neo Neo-Sumerian model figure.
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(2100 B.C.E) The ruler's piety and divinely sanctioned authority as a provider for the people. It was carved from a rare, tough stone, a carefully crafted statue in a seated posture, with hands folded in its lap and depicted barefoot, in a gesture of greeting or prayer. Intricate carving adorned the robe, along with formal patterns in the hair and eyebrows. He holds an authoritative and revered role as the divinely chosen ruler, representing perpetual prayer and supplication before the gods. -
(2100 B.C.E) Ancient Mesopotamian architecture and Sumerian religious beliefs featured a constructed core made of mud bricks to provide a solid foundation, and then baked fired bricks for the outer shell, which offered protection against erosion and elements. The structure is part of a larger temple complex or living quarters for the divine attendant and priests, since it served as a bridge between the earthly realm and the heavens, as a place for performing rituals. -
Babylonian (1894-539 B.C.E) was characterized by its use of clay, stone, glazed bricks, and metal. The emergence of the Babylonian Empire is known for its narrative storytelling that often depicts mythological, religious rituals that often featured animals like lions, bulls, and dragons served to reinforce power and authority, connecting between earthly and divine realms using vibrant colors like glazed bricks and frescoes to create a brightly colored, monumental display in the architecture.
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1800-1750 B.C.E., the fusion of the complex and contradictory themes of divinity, fertility, and sexuality. Made of high-relief, baked straw-tempered clay, this piece portrays a nude, winged female with complete, high breasts, a bird talon, a horned headdress, and holding a rod and ring in her hands, standing on lions against a background of mountains. interpreted as a celebration of fertility and sexual love, and a mystical connection to the cosmos, plus the enchanting silence of the night. -
(1792 -1750 B.C.E.)Establishment of a comprehensive and written legal system on divine authority. 7.4-foot-tall diorite monument, carved from a large, durable black stone, at the top depicts a male figure standing in a Contemplative pose while another male is seated on the throne holding a scepter and ring. Reflected the Babylonian social structure of punishments and legal standards by providing guidelines for daily life. -
(900-612 B.C.E.) It was characterized by its use of stone, alabaster, bronze, and ivory. The emergence of the Assyrian Empire is marked by its relief sculptures, which depict royal power through scenes of warfare and religious rituals. These scenes feature protective mythological creatures that represent gods as a common motif, with the main deities sometimes appearing in a symbolic rather than a figural form. Additionally, the sculptures vividly portray the king's achievements.
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(883-859 B.C.E)The artistry and power of the Assyrian Empire were evident in its limestone and gypsum alabaster, carved from a single block of stone. The feature hybrid is depicted as the head of a male with a long beard, wearing a horned, feathered crown, with the body of a bull and the wings of an eagle. Serve as a protective guardian of the building and the people, and a reminder of the king's power and authority. -
(875-860 B.C.E)The military might and imperial authority of the Assyrian king. The structure is made from gypsum alabaster, portraying a scene of battle chaos. Males figure, two on land and one at a castle, holding an arrow. Two males shoot arrows at three fleeing males who are underwater, trying to escape. Assyria actively pursued and inflicted casualties on those fleeing and attempting to cross the river, which illustrates the brutal reality of their siege techniques. -
(500-330B.C.E) It was characterized by its use of stone, metal, glazed brick, and gold. The emergence of the Persian empire is known for its blend of local and foreign styles, focused on the flat surface, symbolic details, and decorative beauty over realism, and incorporating elements from cultures like Mesopotamia, distinguishing its patterns and vibrant colors to complex the detailed design that sometimes found in textiles, ceramics, and architecture
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(521-486 B.C.E)The empire power, multiculturalism, and artistic sophistication. It's made from limestone and covered with intricate bas-relief carving that illustrates many male figures with distinct attire holding Spears at the top. There is a ring with wings, flanked by two lions with wings, on the side of the stairs, depicting a lion attacking a bull. Symbolic of their submission and loyalty to the king, the peaceful procession also suggested the diplomatic relationship. -
(520-465 B.C.E.)The synthesis of artistic styles and symbolic messaging is characteristic of the Achaemenid Persian Empire. The forepart of two identical back-to-back bulls. The space between the animals' necks and backs. The artists used a stylized pattern for the bull's hair, especially on the mane and forehead. It represents strength and divine protection. The Achaemenid kings embodied their own imperial might and dominance.