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Eridu is believed to be the world's first city. Advancements in agriculture produced a surplus of storable food. Labor division and social stratification take shape, and as result specialization in arts and crafts. Cuneiform portrays a rich history of pottery and other arts. (Muffet Jones) Through this period, advancements in pottery, casting, leather work, weaving and masonry develop. In Sumer we see an increased tie between religious and political practices that impacted the art produced.
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c. 3500–3000 B.C.E., Alabaster, 105 cm high, National Museum of Iraq, Baghdad. Possibly the most famous example of the innovation in art to illustrate the role of the ruler and his place in society. (Dr. Senta German) The symmetrical registers along with the use of composite pose is customary of this period. The vase is read from bottom to top and is representative of social order. It illustrates the hieratic scale and portrays how life originates from the water, a theme central to their lives. -
c.2500 BCE, Limestone, 39x46.5 cm, Louvre Museum, Paris, France. A time of close relation between religion and power. Climate change created tensions between city-states and the need for militaristic power rose. This piece shows Ur-Nanshe's devotion and power. The scene and inscription depict Ur-Nanshe as a builder of temples. This religious devotion confirms his administration during a tumultuous time. Exemplary of art used to convey a message of piety. (Dr. Senta German) (Harvard College) -
The Akkadian people were known as an extremely brutal group. In Akkad art takes an increasingly political and warlike approach. Themes grow darker and portray stories of brutal conquest. There is a switch to divine ancestry and art legitimizes the practice. Here art becomes more naturalistic and asymmetric compared to earlier works. In architecture, the Assyrians used brick as well as stone, which had contrast to the primary use of sun dried brick of Babylonian architecture. (Muffet Jones)
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c.2240 BCE., 6.5x5 ft., Stone, Louvre Museum, Paris, France. Represents changes in composition and tone from that of the Sumerians. This piece has an asymmetrical natural composition. Naram Sin stands at the top above his soldiers atop their defeated. His horned helmet a sign of his divinity. Representative of hieratic scale in art of this time, Naram Sin towers all others in the relief signaling his power. His enemies are nude and defeated marking a bold change to dark, militaristic tone. -
c.2200 BCE., 12in, Bronze, Iraq Museum, Baghdad, Iraq. Akkad brings a political shift to sovereign rulers and with that a shift in artistic representation. A royal portrait of this kind focused on the realistic human traits of the ruler while the exquisite details and materials reflected the grandeur.(Zainab Bahrani) A piece of this kind was not only representative of the rulers power but also as an eternal embodiment, making the damage done in damnatio memoriae exceptionally fascinating. -
During this period was the revival of the city-states. A key feature of this period is the monumental architecture created, in particular the ziggurat. These structures speak to the religious and political themes of the period. Religion was central in the order of peoples lives. Like the earlier Sumerian period, the topography of the area dictated the materials available and the use of clay and mud brick was prevalent for architecture. Bronze was also a chosen medium of this time.
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c. 2100 BCE, mud brick and baked brick, 210x150x100 ft, Tell el-Mukayyar, Iraq. Ziggurat of Ur demonstrates the centrality of religious devotion and ceremonial purpose. The shape is essential to the religious rituals of the area. (Dr. Senta German) The tiered structure ascends to the Gods, with each tier demonstrating demarcation of space. This played a role in the politics of the city-states, with the temple reserved for those most holy and also offering confirmation of the political hierarchy. -
c.2090 BCE., 17 5/16 × 8 7/16 × 11 5/8 in., Diorite, Metropolitan Museum of Art, New York, USA. After the decline of Akkad and the return of the city-states we once again see a shift in artistic expression. There is a turn away from the natural soveriegnty and back to the religious devotion of the past. Gudea focused efforts on rebuilding the temples of Lagash and had them adorned with statues of himself. The inscriptions speak to his devotion and in return the favor of the Gods. (The Met) -
Babylonian architecture was a symbol of favor from the Gods. With little supply of stone, sun dried brick architecture took the forefront. Trade was influential on Babylonian art as it increased the variation and quality of mediums. There is an increased lavish quality in art, particularly relief paintings, with the introduction of glazed brick. Written law and the order there under plays a key role in the art of this period. Gods and kingships work hand in hand in confirmation of the law.
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c. 1792-1750 BCE., 7ft. 4.5 in., Basalt, Louvre Museum, Paris, France. This period marks developments in legal systems and art reflected the law as seen in this work. One of the first legal codes is inscribed in this work. The laws are validated by the scene depicted at the top. Hammurabi is portrayed as receiving the laws directly from the Gods. This is representative of the relationship between kingship and religion of the Babylonian era. Rulers were believed to receive divine guidance. -
Assyria was similar to the Akkadian in theme and tone. An extremely militaristic group with great themes of protection. Great emphasis is placed on the hierarchy of people with the art reflecting this order. Art is used as propaganda in favor of the kingships and their conquests. Fear and intimidation rule. Mediums remain largely the same of other Near East cultures with the addition of Ivory. Centered around monumental palaces of great scale reinforce the themes of intimidation and protection.
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c.726-722BCE., 2cm-30cm, bronze, The British Museum, London, UK. One of only two known weight systems of the time. This cast metal is not only a work of art but also a useful tool of measurement. These works represent development in early mathematics and growing sophistication of society. They are representative of the need for a measurement of scale as the trade of goods begins to develop and grow. They offer great insight into the developments of measurement and linguistics. -
c. 721-705 BCE., Gypseous Alabaster, 4.20 x 4.36 x 0.97 m, Louvre Museum, Paris, France. The Lamassu is a large mythological beast. It is part man, bull, and winged creature. It is representative of the power of the Assyrian dynasty. Built to adorn the monumental, domineering architecture of the palaces. The crown of the Lamassu is important for the dbl/trpl horns and ornamentation linked to divinity. (Dr. Senta German) A time of immense propaganda, the Lamassu stands as a representative figure. -
c. 575 BCE., 49x98 ft. Glazed Mud Brick, Pergamon Museum, Berlin, Germany. The construction of the Ishtar Gate was influenced heavily by the invention of the arch. The Ishtar Gate stood as the crown jewel of Babylon, known for their architecture.The use of blue puts it in favor of the Gods. This work represents the intersection between the Gods and the rulers of the Kingship. The lavish style confirms their rule. The finish of the facade rendered a jewel like shine. (Dr. Senta German) -
c. 550-330 BCE., Architecture, Fars Province, Southern Iran. Persepolis is a monumental piece of architecture that reflects the magnitude of the Persian empire. Not only for the size but for the cultural diversity represented at the sight. Known for its grand Hypostyle Halls, Columns, Stairways, Statues and Carvings it stands as a testament to the strength and prosperity of Persia. It is symbolic of the return to religious devotion but as well the acceptance of all people and religions. -
The great multicultural empire. Government rule was empire wide compared to that of the city-states. Monumental architecture stood at the forefront of Persia with great ceremonial purpose. The architecture reflected the grandeur of the empire. The size and multicultural facet of the empire produced great complexity in the art of Persia. Tolerance and harmony were central in the order of this great empire.
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c. 539 BCE., baked clay, 8.6” x 3.9-3.1”, British Museum, London, UK. A powerful work of art that detailed the conquest of Babylon by Cyrus the Great and united the great empire under a human bill of rights. As an empire of cultural diversity, marked a period of freedoms and religious expression following great reformation. Coming out of a period of brutal militarism and division, this laid the foundations of a new approach to governance and equality.