This is a short slide show of an Akkadian work and several Assyrian reliefs that demonstrate the passion for historical detail.

1. A Passion for Historical Detail
In the next slide we will begin
with an example from the
Akkadian Culture
c. 2300 - 2100 BC

2. The Victory Stele of
Naramsin
Read about this in your text.
Even though this is Akkadian –
an earlier culture than
Assyrian, we can see that it
depicts certain stylistic
characteristics that continue in
Mesopotamian art for centuries
and are similar to Egyptian
style as well. Please note:
Pose for the King at left --
frontal chest but the rest of the
body in profile. (Same as
Egyptian) This shows the
power and correct side “right
side” of the ruler.
Symbols of Authority and
Kingship – Larger Scale. Wears
the horned crown typical of
several cultures in
Mesopotamia.
Directional Symbols – Upward
motion of Kings soldiers at
left, downward motion of
enemy.

3. The Passion for Detail
of Mesopotamian Art
This is a detail of the center
section of the relief.
Please Note:
Above – Here we see the
head and chest of the enemy
the King has stepped on. His
leg is under the other fallen
captive.
Second Figure – He falls
limply to his death, but yet to
symbolically give the King
respect, he still looks to him.
Also note the attention to
anatomy, although the figure
does not have the idealized
musculature reserved for
only royalty.
Nakedness - Symbolic of
death. We will see this
convention even in Medieval
reliefs.

4. The Passion for Detail
in Mesopotamian art.
What similarities and/ or
differences do you note in
this style to Egyptian art
such as in the Palette of King
Narmer or Menes?
Answer on the discussion
board.

5. The Passion for Detail
in Mesopotamian Art. Assyrian Culture
Assyrian Art c. 1300 – 612 BC
The Assyrians continued
this same interest in detail
and brought it to an even
higher level. Primarily
they are known for their
historical battle scenes.
These lined the palace
courtyards at cities like
ancient Khorsabad,
Nimrud, and Nineveh.
Their main function was
to impress dignitaries and
visitors with the might
and heroism of their
Empire, which lasted
longer than any other in
the region—for approx.
600 years.

6. Reliefs from the
Can you see how Assyrian Relief Art is more
Palace at Nimrud – 9th
Perceptual than Egyptian?
Century
Through Cuneiform inscriptions
(not seen here) the Assyrians note
exactly which battle is depicted
here. It is their conquest over
the city of Lachish in Judah or
modern Israel, as recorded in
Isaiah and Ezra.
Note the same stylistic
elements as seen in the
Naram sin Relief:
1. Falling enemy – especially
in the center—the figure
appears to be diving
downward, and also at left, we
see just the legs of another.
3. A change in style and
proportion due to class or
culture. Note there is more
movement and liveliness of
detail in the enemy than in the
soldiers.
2. Symbolic Directional
Motion.
3. Bulging Muscle Definition.
What other details do you see?
Two wrestlers?

7. Details of the Conquest of the City of Lachish by
Assyrian Passion for King Sennacherib (704-681 BC).
Historical Detail
What details regarding
the Assyrian capture of
the city of Lachish do you
see?
A battering ram?
Weapons, ladders, boulders
?
Soldiers carrying the spoils
of war?
Go to this web site for
more images and views of
Assyrian art:
http://www.britishmuseu
m.org/explore/galleries/m
iddle_east/room_10b_ass
yria_siege_of_la.aspx

8. Relief from the Palace of Sennacherib at
Assyrian Passion for Nineveh.
Historical Detail
Following is a quote from the
British Museum on this piece.
“This fragment shows a Phoenician
ship. 'Phoenician' is the Greek name
given to the inhabitants of
Canaanite cities along the Levant
coast. They were an extremely
wealthy people, profiting from the
trade that linked Mesopotamia and
Egypt and the Mediterranean. The
Assyrians expanded westwards to
control these trade routes and
acquire the wealth of the cities
through tribute, booty and
taxation. The demand by the
Assyrians for materials led the
Phoenicians to explore the
Mediterranean and establish
trading colonies at such places as
Sicily, Carthage in North
Africa, and Spain.”
Notice the men in the ships with
the oars out into the water
represented by wavy lines. We
will see an Aegean scene in Ch. 5
of your text a little similar to
this.

9. There are many images of the King and his court fighting lions. Below is
one from your text from the capital of the Assyrian Empire at Nineveh.
Study the Style in your text.

10. Assyrian
Perceptualism
Note the detail and a
tendency toward violence,
as the lion is being stabbed
through by the sword of the
King Assurnazirpal.
See also, one arrow at his
head, while others are flying
across the body.
Using Higher Relief and No
Overlapping As Status:
Notice, at no point is the
King’s body overlapped by
the lion. Similar to the
Egyptians, overlapping and
spatial prominence is used
as a status or power symbol.

11. Assyrian King hunting
The Lion Hunt Theme is used at Nimrud and also
Lions
at the Assyrian Capitol of Nineveh.
Nineveh – 7th century BC
Why such an extreme
interest in Lions in Assyrian
culture?
This is a loaded question, but
here are some theories:
1. It was strictly
propaganda, to show the King’s
heroic strength and power.
2. The lion was a danger to the
area, thus, the reliefs showed
the King as protector of the
people. Once again the King
3. According to biblical rides ON the
accounts, following the horse, but is still
depicted in FRONT
conquest of Samaria, lions had of the horse---only
been used by God for his left leg is
destruction over the idol- overlapped.
worshipping, transplanted
people . They had killed many
, and had also proliferated and
become a greater threat.
(See 2 Kings 17:24-26)

12. Assyrian Passion for
Detail and
Perceptualism
Study this one
in your text.
It is from the
Palace of
Assurnabanipal,
at Nimrud.

13. A Carved Ivory inset with Assyrian Perceptualism and Drama
Lapis Lazuli and some
gold from Nimrud.
Can you see how this lion is
really attacking a Nubian
slave?
Their bodies are
intertwined showing good
observation by the Assyrian
artist , especially of the
muscles of the Nubian.

14. Assyrian
Perceptualism
We must remember
that these reliefs
were painted. The
color does not
survive.
Here is an artists
depiction of a detail
of a lion hunt.