. : . Ricardo E. Valenzuela Ruiz
E-.mail varr1047@yahoo.com MESOPOTAMIA PART 2
Standing figure of an orant. Tutub/Khafaje. Early Dynastic I, c. 2700-2650 BC. Black breccia, h. 43 cm. : . Standing figure of an orant. Tutub/Khafaje. Early Dynastic I, c. 2700-2650 BC. Black breccia, h. 43 cm. LEFT) Nude female figurine. Eridu/Abu Shahrain. Early Uruk culture, c. 4000-3500 BC. Terracotta, h. 14.5 cm. (RIGHT) Nude male figurine. Eridu/Abu Shahrain. Early Uruk culture, c. 4000-3500 BC. Terracotta, h. 13.5 cm. Female figurine (mother goddess?). Provenance unknown. 6th-5th millennium BC. Terracotta, h. 7.7cm. Color Plate I.The "Warka Head" -- the front part of a female head. Uruk/Warka. Late Uruk culture, c. 3300-3000 BC. Marble or alabaster, h. 21.5 cm. IM 45434. Animal group. Uruk/Warka. Early Uruk culture, c. 4000-3500 BC. Terracotta,h. 4.5 cm Standing figurine of the god Enlil. Nippur/Nuffar. Early Dynastic II-III, c. 2550 BC. Limestone, h. 27.5 cm. Support in the form of a bearded orant. Tutub/Khafaje. Early Dynastic I, Fara period, c. 2900-2650 BC.Copper, h. 53.5 cm. Color Plate IV.Support in the form of a bearded orant. Tutub/Khafaje. Early Dynastic I, Fara period, c. 2900-2650 BC. Copper, h. 53.5 cm. IM 8969. Lion. Eridu/Abu Shahrain. Neo-Sumerian, c. 2150-1950 BC. Basalt, h. 165 cm Seated statue of the goddess Baba. Uruk/Warka. Neo-Sumerian, c. 2150-1950 BC. Dark stone, h. 18 cm. Male head with cap from a statue. Uruk/Warka. Neo-Sumerian, c. 2150-1950 BC. Limestone, h. 12 cm. IM 41014. LEFT)Foundation figurine of the king Ur-Namma carrying basket of bricks. Uruk/Warka. Founder of Ur III, reign 2097-2080 BC. Bronze, h. 26.5 cm. (RIGHT)Cuneiform tablet found with the foundation figurine of the king Ur-Namma. Uruk/Warka. Ur III, reign c. 2097-2080 BC. Bronze, h. 26.5 cm, Armrest for a throne in the form of a ram. Ur/Tell al Muqayyar. Ur I, c. 2600-2425 BC or Ur III, 2097-1989 BC. Limestone, h. 37 cm, l. 56 cm. IM 24690.
Seated female, 7th–6th millennium B.C., Halaf periodMesopotamia or SyriaCeramic, paint 2.01 x 1.77 in. (5.11 x 4.5 cm)Distinctive clay female figures like this one were produced at sites belonging to the Halaf culture. This example displays a strong stylization with an emphasis on the sexual features. She sits with her large thighs extended, supporting her breasts with her arms; neither hands nor feet are shown. Her head is missing; in other figures of this type with head intact it is elongated into a large noselike projection but otherwise is featureless. Remains of paint may represent jewelry. The meaning of such representations eludes us but may be connected with fertility. The stylized depiction of the female form remains an artistic convention in northern Syria, Anatolia, and the Aegean for several millennia. : Seated female, 7th–6th millennium B.C., Halaf periodMesopotamia or SyriaCeramic, paint 2.01 x 1.77 in. (5.11 x 4.5 cm)Distinctive clay female figures like this one were produced at sites belonging to the Halaf culture. This example displays a strong stylization with an emphasis on the sexual features. She sits with her large thighs extended, supporting her breasts with her arms; neither hands nor feet are shown. Her head is missing; in other figures of this type with head intact it is elongated into a large noselike projection but otherwise is featureless. Remains of paint may represent jewelry. The meaning of such representations eludes us but may be connected with fertility. The stylized depiction of the female form remains an artistic convention in northern Syria, Anatolia, and the Aegean for several millennia.
Vessel fragment with bird in profile, 7th–6th millennium B.C.; Halaf periodExcavated at Tell Brak, Eye Temple fill, SyriaCeramic, paint 2.83 x 1.65 in. (7.19 x 4.19 cm)Gift of Colt Archaeological Institute Inc., 1988 (1988.323.7)Halaf pottery was made by hand (the potter's wheel was not invented until the fourth millennium B.C.) and decorated with very finely executed designs in one or two colors. The surface of the finest pottery was then highly burnished and a glossy effect was achieved by the use of fluxes, which serve to lower the melting point of the pigments, in some cases accidentally achieving true glazes. This fragment of a thin walled vessel has the exterior painted with light and dark brown decoration consisting of a stylized bird in profile with back arched, a long neck, and a large circular head. A vertical zigzag pattern on the left and a dark brown band partly frame the bird. The rim edge has a horizontal band with vertical stripes : Vessel fragment with bird in profile, 7th–6th millennium B.C.; Halaf periodExcavated at Tell Brak, Eye Temple fill, SyriaCeramic, paint 2.83 x 1.65 in. (7.19 x 4.19 cm)Gift of Colt Archaeological Institute Inc., 1988 (1988.323.7)Halaf pottery was made by hand (the potter's wheel was not invented until the fourth millennium B.C.) and decorated with very finely executed designs in one or two colors. The surface of the finest pottery was then highly burnished and a glossy effect was achieved by the use of fluxes, which serve to lower the melting point of the pigments, in some cases accidentally achieving true glazes. This fragment of a thin walled vessel has the exterior painted with light and dark brown decoration consisting of a stylized bird in profile with back arched, a long neck, and a large circular head. A vertical zigzag pattern on the left and a dark brown band partly frame the bird. The rim edge has a horizontal band with vertical stripes
Head of a ram, 3300–3100 B.C.; Late Uruk periodMesopotamiaCeramic, paint 5 in. (12.7 cm)Purchase, James N. Spear Gift, 1981 (1981.53)The extraordinary modeling of this ram's head is characteristic of the Late Uruk period. Sculpted in the round, the back of the head is hollowed out. Ridged horns spring from the center of the forehead and coil behind small, slightly folded but protruding ears. A raised ridge protects each of the spherical : Head of a ram, 3300–3100 B.C.; Late Uruk periodMesopotamiaCeramic, paint 5 in. (12.7 cm)Purchase, James N. Spear Gift, 1981 (1981.53)The extraordinary modeling of this ram's head is characteristic of the Late Uruk period. Sculpted in the round, the back of the head is hollowed out. Ridged horns spring from the center of the forehead and coil behind small, slightly folded but protruding ears. A raised ridge protects each of the spherical eyes, from the corner of which a fold of skin runs along the sides of the muzzle. Fleshy lips join to form the closed mouth. Small patches of black color on the left side of the head suggest that it may originally have been painted. Although it is not clear exactly where this baked clay head comes from, other very similar examples made of stone and terracotta have been excavated from the city of Uruk in southern Mesopotamia. Indeed, it seems that images of sheep were especially common in the city at this time, especially within buildings associated with the cult of Inanna, goddess of Uruk. This might indicate that animal sculptures, such as this example, played a role in religious practice
. : . Stamp seal amulet of a seated woman, 3300–2900 B.C.; Late Uruk/Jemdet Nasr periodIran or MesopotamiaRhodochrosite
0.85 x 1.02 in. (2.3 x. 3 cm)Gift of Martin and Sarah Cherkasky, 1988 (1988.380.1)
This tiny but finely carved seal amulet is in the shape of a squatting female wearing a diadem. The single row of small cavities on the diadem, as well as those on her breasts and in her eye, were probably filled with inlay. Her head is shown in profile with a prominent nose. One visible arm rests on her torso, with her hand on a folded knee, while the other knee is held up. Similar squatting figures are known both on cylinder seals from Iran, Mesopotamia, and Syria and as small sculpture in the round from the Iranian site of Susa. Dating from the end of the late fourth into the early third millennium B.C., such depictions are today known as "pig-tailed women" and, although many appear to be engaged in pottery of textile manufacture, they may also have had some religious meaning, perhaps depicting a gesture of worship. The other side of the amulet may have been used as a seal to make an impression in damp clay. It is flat with eight groups of drill holes that possibly represent schematic dogs.
Standing male worshipper, 2750–2600 B.C.; Early Dynastic period II; Sumerian styleExcavated at Tell Asmar (ancient Eshnunna), central MesopotamiaAlabaster (gypsum), shell, black limestone H. 11 5/8 in. (29.5 cm)Fletcher Fund, by exchange, 1940 (40.156)In Mesopotamia, some gods were thought to be physically present in the materials and experiences of daily life, while others were ethereal and diffuse. Enlil, considered the most powerful Mesopotamian god during most of the third millennium B.C., was a "raging storm" or "wild bull," while the goddess Inanna reappeared in different guises as the morning and evening star. Deities were believed to inhabit their cult statues after the latter had been animated by the proper rituals, and fragments of worn statues were preserved within the walls of the temple.This standing figure, with clasped hands and a wide-eyed gaze, is a worshipper. It was placed in the "Square Temple" at Tell Asmar, perhaps dedicated to the god Abu, in order to pray perpetually on behalf of the person it represented, who was considered to be physically present in the statue. Similar statues were often inscribed with the names of rulers and their families : Standing male worshipper, 2750–2600 B.C.; Early Dynastic period II; Sumerian styleExcavated at Tell Asmar (ancient Eshnunna), central MesopotamiaAlabaster (gypsum), shell, black limestone H. 11 5/8 in. (29.5 cm)Fletcher Fund, by exchange, 1940 (40.156)In Mesopotamia, some gods were thought to be physically present in the materials and experiences of daily life, while others were ethereal and diffuse. Enlil, considered the most powerful Mesopotamian god during most of the third millennium B.C., was a "raging storm" or "wild bull," while the goddess Inanna reappeared in different guises as the morning and evening star. Deities were believed to inhabit their cult statues after the latter had been animated by the proper rituals, and fragments of worn statues were preserved within the walls of the temple.This standing figure, with clasped hands and a wide-eyed gaze, is a worshipper. It was placed in the "Square Temple" at Tell Asmar, perhaps dedicated to the god Abu, in order to pray perpetually on behalf of the person it represented, who was considered to be physically present in the statue. Similar statues were often inscribed with the names of rulers and their families
Seated statue of Gudea, 2150–2100 B.C.; Neo-Sumerian periodProbably Tello (ancient Girsu), southern MesopotamiaDiorite H. 17 3/8 in. (44 cm)Harris Brisbane Dick Fund, 1959 (59.2)The Akkadian empire collapsed after two centuries of rule, and during the succeeding fifty years, local kings ruled independent city-states in southern Mesopotamia. The city-state of Lagash produced a remarkable number of statues of its kings as well as Sumerian literary hymns and prayers under the rule of Gudea (ca. 2150–2125 B.C.) and his son Ur-Ningirsu (ca. 2125–2100 B.C.). Unlike the art of the Akkadian period, which was characterized by dynamic naturalism, the works produced by this Neo-Sumerian culture are pervaded by a sense of pious reserve and serenity.This sculpture belongs to a series of diorite statues commissioned by Gudea, who devoted his energies to rebuilding the great temples of Lagash and installing statues of himself in them. Many inscribed with his name and divine dedications survive. Here, Gudea is depicted in the seated pose of a ruler before his subjects, his hands folded in a traditional gesture of greeting and prayer. The Sumerian inscription on his robe lists the various temples that he built or renovated in Lagash and names the statue itself, "Gudea, the man who built the temple; may his life be long." : Seated statue of Gudea, 2150–2100 B.C.; Neo-Sumerian periodProbably Tello (ancient Girsu), southern MesopotamiaDiorite H. 17 3/8 in. (44 cm)Harris Brisbane Dick Fund, 1959 (59.2)The Akkadian empire collapsed after two centuries of rule, and during the succeeding fifty years, local kings ruled independent city-states in southern Mesopotamia. The city-state of Lagash produced a remarkable number of statues of its kings as well as Sumerian literary hymns and prayers under the rule of Gudea (ca. 2150–2125 B.C.) and his son Ur-Ningirsu (ca. 2125–2100 B.C.). Unlike the art of the Akkadian period, which was characterized by dynamic naturalism, the works produced by this Neo-Sumerian culture are pervaded by a sense of pious reserve and serenity.This sculpture belongs to a series of diorite statues commissioned by Gudea, who devoted his energies to rebuilding the great temples of Lagash and installing statues of himself in them. Many inscribed with his name and divine dedications survive. Here, Gudea is depicted in the seated pose of a ruler before his subjects, his hands folded in a traditional gesture of greeting and prayer. The Sumerian inscription on his robe lists the various temples that he built or renovated in Lagash and names the statue itself, "Gudea, the man who built the temple; may his life be long."
. : . Cylinder seal and modern impression: hunting scene, 2250–2150 B.C.; late Akkadian periodMesopotamiaChert H. 1 1/16 in. (2.8 cm)Bequest of W. Gedney Beatty, 1941 (41.160.192)
While carved stones had been used to stamp impressions on clay from as early as the seventh millennium B.C., the invention in the fourth millennium B.C. of carved cylinders that could be rolled over clay allowed the development of complex seal designs. These cylinder seals served as both a kind of amulet and as a mark of ownership or identification. Seals were either impressed on clay masses that were used to close jars, doors, and baskets, or they were rolled onto inscribed clay tablets that recorded information about commercial or legal transactions. They often were made of precious stones; both the material itself and the carved design were thought to have protective properties. Cylinder seals are important to the study of ancient Near Eastern art because many examples survive from every period and they serve as a visual chronicle of changes in style and iconography.
This seal, depicting a man hunting an ibex in a mountain forest, is an early attempt to represent a landscape in Mesopotamian art. It was made during the Akkadian period (ca. 2350–2150 B.C.), during which the iconographic repertory of the seal engraver expanded to include a variety of new mythological and narrative subjects. The owner of the seal was Balu-ili, a high court official whose title was Cupbearer.