Neo-Assyrian Art

Neo-Assyrian Art

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An Assyrian artistic style, distinct from the dominant Babylonian art of the time, began to emerge c. BC, well before the Assyrian empire expanded to include Sumer. This artistic tradition endured until the fall of Nineveh in 612 BC, leaving behind a legacy characterized by a notable use of stone and gypsum alabaster for large-scale sculpture.

Bronze lion weight; 6th-4th c. BC. Louvre. (c) Rama

Among the most renowned examples of Assyrian art are the colossal lamassu figures that guarded palace entrances, towering symbols of strength and protection. Additionally, Assyrian palace reliefs, meticulously carved onto thin slabs of alabaster, adorned the walls of main rooms, originally painted to enhance their intricate details. These reliefs depicted scenes of triumph, warfare, and royal ceremonies, offering invaluable insights into Assyrian culture, history, and artistic achievements.

Lamassu

Lamassu, revered as protective minor deities or spirits in ancient Assyrian culture, embodied a powerful blend of divine and earthly attributes. These imposing figures boasted wings and a male human head adorned with elaborate headgear symbolizing their divine status.

A Lamassu, from the entrance into the kings private apartments; 865-860 BC. British Museum.

Their intricately braided hair and majestic beards mirrored the regal features often associated with royalty. Below the human head, their bodies took on the formidable form of either a bull or a lion, with the distinction lying primarily in the shape of their feet. Often positioned in prominent pairs at entrances to palaces, lamassu stood as imposing guardians, facing both outward toward the streets and inward toward internal courtyards, serving as potent symbols of protection and strength.

1. Lamassu from Sargon II&#;s palace in Dur-Sharrukin. Louvre. (c) Poulpy
2. Lamassu in the foreground is a cast from the University of Chicago Oriental Institute.
3. Cast from the original in Iraq, this is one of a pair of lamassu with lion&#;s feet in Berlin. (c) Interfase
4. Lamassu on the Gate of All Nations, Persepolis. (c) Ggia

Palace Reliefs

The intricately carved palace reliefs of ancient Assyria offer a captivating glimpse into the grandeur and power of its rulers, prominently featuring scenes that exalt the king in various kingly roles. These reliefs, executed in low relief, depict the monarch engaged in acts of war, majestic lion hunts, and other symbolic displays of royal authority.

Relief of the Lion hunt of Ashurbanipal. British Museum. (c) Carole Raddato

Among the most celebrated examples is the renowned Royal Lion Hunt of Ashurbanipal, immortalized in a series of exquisite palace reliefs from the North Palace of Nineveh. Crafted around 645&#;635 BC, these masterpieces of Assyrian art showcase a formalized ritual hunt orchestrated by King Ashurbanipal himself. In this grand spectacle, captured Asian lions are ceremoniously released into an arena, providing the king with the opportunity to demonstrate his prowess as a mighty warrior, dispatching the majestic beasts with arrows, spears, and his formidable sword. Rich in detail and symbolic significance, these reliefs stand as enduring testaments to the opulence and martial prowess of the Assyrian monarchy.

Ashurbanipal killing a lion. (c) Carole Raddato The king shoots arrows from his chariot, while huntsmen fend off a lion behind. (c) Ricardo Tulio Gandelman Detail of dead lion. (c) Paul Hudson Ashurbanipal on his horse thrusting a spear at a lion&#;s head. (c) Osama Shukir Muhammed Amin Wounded lioness. (c) Carole Raddato Lions behind the king&#;s chariot. (c) Carole Raddato

Among the rich tapestry of Assyrian palace reliefs, depictions of winged genies, minor supernatural beings, hold a prominent place. These ethereal figures, adorned with majestic wings and divine countenances, are frequently depicted in the act of performing sacred gestures, such as purification, fertilization, or bestowing blessings upon the king or other figures of authority.

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Winged genie, Nimrud, c. 870 BC, with inscription running across his midriff. (c) Rufus46

Clutching a bucket and cone in their hands, these winged genies enact rituals of mystic significance, the true meaning of which has remained shrouded in mystery and scholarly debate. Despite the ambiguity surrounding their precise symbolism, these representations add a layer of mystical allure to the Assyrian artistic repertoire, inviting viewers to ponder the enigmatic rituals and beliefs of this ancient civilization.

A four-winged genie in the Bucket and cone motif. Relief from the north wall of the Palace of king Sargon II at Dur Sharrukin, 713&#;716 BC. Pollinating winged genie. Yale University Art Gallery. (c) James Spurrier Winged genie from the Nimrud palace of Ashurnasirpal II. Museu Calouste Gulbenkian, Lisbon. (c) ShadowGate

Other Sculpture

In addition to the monumental reliefs and sculptures like the lamassu, the Assyrians also created statues, stelae, and obelisks that served various ceremonial, religious, and commemorative purposes. Assyrian statues, often depicting rulers or deities, were typically rendered in a more naturalistic style compared to the stylized reliefs. These statues conveyed the authority and grandeur of the Assyrian kings and gods. Stelae, tall stone slabs adorned with inscriptions or reliefs, were erected to commemorate significant events, victories in battle, or the achievements of kings. They often depicted scenes of warfare, religious rituals, or royal decrees, providing valuable insights into Assyrian history and culture. Obelisks, tall, narrow pillars with a square or rectangular cross-section, were also utilized for monumental inscriptions and reliefs.

These towering structures adorned palace complexes and public spaces, serving as symbols of royal power and divine protection. Together, these sculptural forms played a vital role in conveying the ideology, achievements, and authority of the Assyrian Empire.

High relief hero clutching lion, from the entrance to the throne room at Dur-Sharrukin. (c) Urban The Black Obelisk of Shalmaneser III from Nimrud. British Musuem. (c) Osama Shukir Muhammed Amin Unique Assyrian female nude statue from the temple of Ishtar at Nineveh. (c) Fae Stela of Shamshi-Adad V. Detail of statue of Shalmaneser III in Istanbul. (c) Mark Ahsmann

Nimrud Ivories

The Nimrud ivories, a remarkable collection of intricately carved ivory plaques and figures, offer a captivating glimpse into the artistic prowess of the ancient Assyrian civilization. Dating from the 9th-7th c. BC, these exquisite artifacts were unearthed from the ancient city of Nimrud, once a thriving hub of Assyrian culture and power.

An ivory plaque which depicts a lion devouring a human. (c) M0tty

Despite their Assyrian origin, the ivories themselves are believed to have been crafted in regions beyond Mesopotamia, such as the Levant and Egypt, using the ivory tusks of Syrian elephants. Adorned with motifs characteristic of their respective regions, these ivory masterpieces adorned a diverse array of high-status objects, including furniture, chariots, weaponry, and various portable items.

Originally embellished with gold leaf and precious stones, many of these ivories were stripped of their lavish decorations before their final burial, leaving behind a testament to the opulence and sophistication of ancient Assyrian craftsmanship. Discovered in palace storerooms and at the depths of abandoned wells, these artifacts bear witness to the tumultuous events that marked the downfall of the Assyrian Empire, their preservation offering invaluable insights into a bygone era.

Today, the majority of these extraordinary relics find their home in the prestigious halls of the British Museum, where they continue to captivate and inspire visitors with their timeless beauty and historical significance.

Ivory plaque with two griffins in a floral landscape, Phoenician style. Metropolitan Museum of Art. Plaque with Egyptian deity. (c) Sailko &#;The lady at the window&#;. Sulaymaniyah Museum, Iraq. (c) Osama Shukir Muhammed Amin Plaque with Egptian deities and cartouche. (c) Prioryman Plaque with ram-headed sphinx. (c) Sailko Plaque with man and a griffin in combat. (c) Daderot

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