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Sumerian art was developed in Mesopotamia and has close ties to religion, city states, and early government. Art emphasized stability, loyalty, and order, using stylized figures, large staring eyes, and simplified forms. Sculpture, relief carving, cylinder seals, reflected the belief that rulers governed with divine approval.
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Sumerian, Unknown, Female Head (Inanna), c. 3100–3000 BCE, marble with bitumen and shell inlay, 8”, 1200 × 1200 px, Iraqi Museum, Baghdad
This sculpture represents the goddess Inanna and demonstrates early Sumerian worship of Godlike figures. The smooth texture and eyes highlight sacred presence rather than individuality. -
Sumerian, Unknown, Standing Male Worshipper, 2900–2600 BCE, gypsum with shell and limestone inlay, 2’6”, 1200 × 1600 px Metropolitan Museum of Art, New York
This figure symbolizes Sumerian religious loyalty, shown through clasped hands and overly wide eyes meant to symbolize prayer. Its simplified geometry and front facing posture reflects the Sumerian focus on spiritual presence rather than realism. -
Sumerian, Unknown, Standard of Ur, c. 2600–2400 BCE, wood, shell, lapis lazuli, and limestone, 8.5” × 19.5”, 1400 × 900 px, British Museum, London The Standard of Ur illustrates social order, warfare, and celebration using clear narrative registers. Its materials and storytelling show the Sumerians power structures and the connection between military success and divine favor. -
Akkadian art reflects the rise of the first empire under Sargon of Akkad. Akkadian works emphasize realism, emotion, and the divine authority of kings. Natural body language and facial expressions reinforced imperial power and centralized rule.
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Akkadian, Unknown, Cylinder Seal with King and Deities, c. 2300 BCE, stone, 1”, 1000 × 1000 px, British Museum, London
Akkadian cylinder seals display increased realism and complex compositions. This seal highlights Godlike support of kingship and the Akkadian belief in centralized power. -
Akkadian, Unknown, Victory Stele of Naram-Sin, c. 2254–2218 BCE, limestone relief, 6’6”, 1600 × 1000 px, Louvre Museum, Paris
The stele glorifies King Naram-Sin as a god like conqueror, breaking traditional horizontal registers. Its upward diagonal composition reinforces imperial dominance and godly kingship. -
Akkadian, Unknown, Head of an Akkadian Ruler, 2250–2200 BCE, bronze, 1’2”, 1200 × 1200 px, Iraqi Museum, Baghdad
This sculpture is recognized for its natural and individual facial features, showing the artistical shift towards realism. The defaced eyes and ears suggest political disturbance, reinforcing the artwork’s connection to power and conflict. -
Neo-Sumerian art marked a cultural revive after the Akkadian collapse. Art returned to order, clarity, and religious devotion, and representations of rulers as humble servants of the gods. Figures appear solid, calm, and idealized.
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Neo-Sumerian, Unknown, Votive Plaque of Ur-Nammu, c. 2100 BCE, limestone relief, 1400 × 900 px, Iraq Museum
This plaque depicts King Ur-Nammu performing a religious ritual, reinforcing the Neo-Sumerian idea of rulers as servants of the gods. The in order composition reflects restored social balance. -
Neo-Sumerian, Unknown, Standing Statue of Gudea, c. 2100 BCE, diorite, 2’8”, 1200 × 1600 px, Louvre Museum, Paris
This standing figure presents Gudea as calm, composed, and emphasizing humility and loyalty. The stiff pose and durable stone symbolize stability and religious leadership. -
Neo-Sumerian, Unknown, Votive Relief from the Temple of Inanna, c. 2100 BCE, limestone relief, approx. 2 ft tall, 1400 × 900 px, National Museum of Iraq, Baghdad
This temple relief depicts worshippers presenting offerings to the goddess Inanna. Demonstrating Neo-Sumerian religious loyalty and ritual practice. The orderly composition, simplified figures, and calm poses reflect the movement’s return to balance, religious, and spiritual focus. -
Babylonian art combined law, religion, and royal authority together. Monumental architecture emphasized justice and divine order. Artworks often communicated legal and moral ideals rather than personal expression.
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Babylonian, Unknown, Stele of Hammurabi, c. 1754 BCE, basalt, 7’4”, 1400 × 1800 px, Louvre Museum, Paris
This stele presents King Hammurabi receiving laws from the sun god Shamash, visually validating Babylonian law. The artwork reinforces order, justice, and God like authority in society. -
Babylonian, Unknown, Lion of Babylon, c. 1700 BCE, basalt sculpture, 1400 × 900 px, Babylon, Iraq The lion symbolizes royal strength and God like protection. Its simplified but forceful form reflects Babylonian values of power and guardianship. -
Assyrian art served imperial publicity, praise military strength and royal authority. Bigger reliefs depicted warfare, hunting, and defeat with dramatic detail. Architecture and sculpture also reinforced fear and control.
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Assyrian, Unknown, Lamassu, c. 720 BCE, limestone, approx. 13 ft tall, 1600 × 2000 px, British Museum, London
The Lamassu combined human intelligence, animal strength, and God like power to guard palace entrances. Its composite form symbolizes protection and royal authority. -
Assyrian, Unknown, Siege of Lachish, c. 700 BCE, gypsum relief, 1600 × 1000 px, British Museum, London
The relief documents Assyrian military conquest with detailed storytelling. Its realism reinforces imperial dominance and historical record keeping. -
Assyrian, Unknown, Ashurbanipal Hunting Lions, 650 BCE, gypsum relief, 1600 × 1000 px, British Museum, London
This relief exaggerates the king’s physical strength and control over chaos through violent realism. It represents Assyrian information and mastery of narrative relief. -
Babylonian, Unknown, Ishtar Gate, 575 BCE, glazed brick, Babylon Pergamon Museum, Berlin
The Ishtar Gate combined vibrant color with animal symbolism to honor the goddess Ishtar. Its monumental scale reinforced Babylon’s wealth, power, and religious loyalty. -
Persian art under the Achaemenid Empire emphasized union, order, and imperial tolerance. The art had influences from Mesopotamia, Egypt, and Greece, focusing on balance and harmony rather than violence.
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Persian, Unknown, Darius I Relief at Behistun, c. 520 BCE, rock relief, 1600 × 900 px, Mount Behistun, Iran This relief combines image and writing to full prove Darius’s rule. It demonstrates Persian use of art as political communication across huge territories. -
Persian, Unknown, Apadana Staircase Reliefs, c. 500 BCE, limestone, 1600 × 1000 px, Persepolis, Iran These reliefs portray delegacy from across the empire bringing tribute. The calm repetition emphasizes balance, union, and imperial order. -
Persian, Unknown, Relief of Tribute Bearers, c. 500 BCE, limestone relief, 1600 × 1000 px, Persepolis, Iran This relief shows multiple subject nations peacefully bringing gifts to the Persian king. It reflects Persian ideals of cooperation, stability, and multicultural empire.