Making pictures of war : Realia et Imaginaria in the iconology of the ancient Near East / edited by Laura Battini.

Format:

Book

Contributor:

Battini, Laura, editor.

Language:

English

Subjects (All):

Art, Ancient--Middle East--Congresses.

Art, Ancient.

Physical Description:

1 online resource (xii, 88 pages) : illustrations

Edition:

1st ed.

Place of Publication:

Oxford : Archaeopress Publishing Ltd, [2016]

Summary:

This book brings together the main discussions that took place at an international conference on the iconology of war in the ancient Near East, a subject never addressed at an international meeting before.

Contents:

Front Cover

Title Page

Copyright Page

Contents

List of Figures

Abbreviations and General References

Abbreviations

References

Acknowledgments

Dedications

Introduction: the War and its Representations

Some Observations on the War Scenes on the Seals from Mari City II

Dominique Beyer*

The seals of King Ishqi-Mari

The seal of Shakkanakku Iddin-Eshtar

Figure 1.1: Schematic Diagram of the North Part of P-1 with the Positions of the Sigillographic Finds.

Figure 1.2: Door Seal with Imprints of Version a of Ishqi-Mari's Seal.

Figure 1.4: Graphic Reconstruction of the Imprint of Version a.

Figure 1.5: Door Seal with Fragmentary Imprints of Version b of Ishqi-Mari's Seal.

Figure 1.7: Fragmentary Imprint: Upper Section of Version b.

Figure 1.8: Fragmentary Imprint: King Ishqi-Mari (Version b) .

Figure 1.9: Graphic Reconstruction of the Imprint of Version b (2007) .

Figure 1.10: Graphic Reconstruction of the Imprint of Version b: New Version.

Figure 1.11: Door Seal with Fragmentary Imprints of Iddin-Eshtar's Seal.

Figure 1.13: Graphic Reconstruction of the Imprint of Iddin-Eshtar's Seal.

Elements Of War Iconography At Mari

Costumes and weapons

Costumes and weapons from City II (DA III-b)

Costumes and weapons from City III

Heavy equipment: harnesses

Frame

The figure of the vanquished enemy

Graphic vocabulary: components of the military apparatus

by Béatrice Muller*

Elements of iconographic syntax

Soldier and prisoner

Clues about a military hierarchy from shell inlays

The axe, the javelin and the bow

Warriors and the image of the victorious King in the Old Babylonian period

Overall compositions and significance - the place of Mari in war iconography.

Overall composition of the mosaic shell panels: new paths

Mari and the modalities of the royal victory iconography in the Old Babylonian period

Conclusion

Figure 2.1: Inlaid mother-of-pearl from the Temple of Ninni-zaza (Mari, City II) : helmeted soldiers. H. average 4.5-5cm. a - Parrot 1952: fig. 66. b - Drawing of a selection of parts. Parrot 1967: 209-214, fig. 252-254 (cf. pl. LXIII).

Figure 2.3: Terracotta stamped plaques from the Great Royal Palace (Mari, City III) : soldier with a long weapon (spear?) and an axe. a - M. 768, room 62 (near the Throne Room 65, official sector M). Parrot 1959: fig. 55 et cf. pl. XXIX. b - M. 1073, cour

Figure 2.4: Fragments of mural painting from room 220' (sector F: royal private apartments on the first floor) of Great Royal Palace (Mari, City III). a - M. 4596 : archer standing at rest. H. 31cm. Gouache J. Depauw, © MAM, slide A. Parrot. b - M. 4592 :

Figure 2.5: Fragments of mural painting from the West wall of the Court 106 (official sector M) of the Great Royal Palace (Mari, City III) : figure of victorious King (module 1, restored h. c.1.60m). Parrot 1958: fig. 35 and 36. a - Elements of garment wi

Figure 2.6: Graffiti engraved with a point on plaster (juss) of a wall of room 52 (sector H, chambers of the staff belonging to the Women's House) of the Great Royal Palace (Mari, City III) : soldiers. Parrot 1958: fig. 13 and 14. a - Bearded and helmete

Figure 2.7: Piece of inlaid mother-of-pearl from space 4 of the pseudo-Palace (Mari, City II) : deck tank showing a pair of engraved reins in its upper indentation

the lower edge curved leaves room for the installation of a wheel. H. 6.8cm. Never publis.

Figure 2.8: Piece of inlaid mother-of-pearl from space 20 (square) south of the Temple of Ishtar (Mari, City II) and belonging to the Standard: fragmentary wheel associated with the box of a chariot on whose step the legs of a soldier brace themselves. To

Figure 2.9: Miniature registry of fragmentary mural paintings from room 220' (sector F: royal private apartments on first floor) of Great Royal Palace (Mari, City III). a - Head caped with a polos blue and white striped. (M. 4587) at the corner of a brick

Figure 2.10: Piece of inlaid mother-of-pearl M. 2477 from room 13 of the temple of Ninni-zaza (Mari, City II) : Kneeling prisoner. H. 7cm. Parrot 1952: fig. 67.

Figure 2.11: Pieces of Standard from space 20 (square) south of the temple of Ishtar (Mari, City II). A - bust of the military dignitary M. 474 in situ, yet in connection with the background and border, while the bottom of the garment is visible above on

Figure 2.12: Fragment of the panel inlaid from the passage 52/49 of the pseudo-Palace of City II, level P-1: helmeted soldier pushing a prisoner (M. 4785 and M. 4793) and wearing clothes of this one on the top of his javelin which is pointed downward. H.

Beyer in Margueron 2004: fig. 506-2 and cf. Amiet 1960: fig. 12

Parrot 1959: 189-191.

Figure 2.13: Contour of warrior M. 471 (temple of Ishtar, Standard) by comparison with the previous figure.

Figure 2.15: Restitution drawing of the impression of a seal known from different clay door-lock sealings from the Great Royal Palace (Mari, City III) inscribed with the name of Mukannishum, intendant of the palace: the King hits a standing enemy with his.

Figure 2.16: Modern impression of the seal of Ana-Sin-taklâku. A lot of his sealings (especially of jars) were found in the Great Royal Palace (Mari, City III): the King, surrounded by deities and holding an harpè tramples an enemy. H. 2.7cm. Louvre AO 21

Figure 2.17: Iconographic and architectural restitution of paintings of room 220', south wall, of the Great Royal Palace (Mari, City III). H. 3.50m c., L. 14.75m. Margueron et al. 1990: fig. 11.

Figure 2.18: Fragments of wall painting on coating of juss from the court 106 of the Great Royal Palace (Mari, City III) : presentation panel conceived by B. Muller and realized after restoration by CEPMR/CNRS (Centre d'Etudes de Peintures Murales Romaine

Figure 2.19: Restitution drawing of the impression of the seal (n° 1) of Ishqi-Mari from different sealings discovered in room 11 of the pseudo-Palace (Mari, City II) : battle and banquet celebrating victory. Beyer 2007: fig. 17. Scale 2: 1.

Visualizing War in the Old Babylonian Period: Drama and Canon

Figure 3.1: Victory Stele of Eannatum. From Tello. Early Dynastic period. Louvre Museum (after Forest 1996: 222).

Victories and Defeats: The Sedimentation of War Experiences

by Silvana Di Paolo*

'Inscribing' the War on the Bodies between Aberrations and Tangible Signs

The Power of Symbols: the 'Canon' of Naram-Sin

Figure 3.2: Victory Stele of King Dadusha of Eshnunna. From Tell Asmar. Old Babylonian period. Baghdad Museum (after Ismail and Cavigneaux 2003: pl. 34)

(after Orthmann 1975: 325, pl. 247)

Figure 3.3: Neo-Assyrian bas-relief. From Nineveh. North Palace, Room S. Reign of Ashurbanipal. British Museum

Figure 3.4: Cylinder seal. Newell Collection. Old Babylonian period (after von der Osten 1934: pl. 14: 155).

Figure 3.5: Cylinder seal. Moore Collection. Old Babylonian period (after Eisen 1940: pl. 7: 60)

Figure 3.6: Victory Stele of Naramsin. Akkadian period. Louvre Museum (after Orthmann 1975: 196, pl. 196)

Figure 3.7: Terracotta Plaque. From Kish. Old Babylonian Period. Baghdad Museum (after Moorey 1975: pl. 23a)

Middle Assyrian Drama in depicting war: a Step towards Neo-Assyrian Art

Figure 4.1: Pyxis lid from Assur (Berlin, Vorderasiatische Museum, VA7989), 13th s. BC. Source: Matthiae 1997: 32.

The grammar of Middle Assyrian depictions of war

by Laura Battini*

Outline of a syntax

Relationships with the Iron Age

Figure 4.2: stone Cult Pedestal of Tukulti-Ninurta I. Source: Matthiae 1997: 31-32.

Figure 4.3: stele from Suse (Louvre, Sb 7). Source: Matthiae 2000: 52.

Figure 4.4: Hunt seals Source: Harper et alii 1995: 65-66, fig. 26

Invernizzi 1992 : n° 310.

Figure 4.5: Broken Obelisk of Assur-bel-kala (11th century BC), from Nineveh. Source: Matthiae 1997: 33.

Figure 4.6: Old Babylonian terracotta representing the epiphany of god (Philadelphie, Penn Museum, Y.B.C. 10.035). Source: Opificius 1961: n° 399.

Figure 4.7: Urban settings of Kar-Tukulti-Ninurta and Dur-Sharrukin. Source: original setting.

"Losing One's Head". Some Hints on Procedures and Meanings of Decapitation in the Ancient Near East

"Losing One's Head". Some Hints on Procedures and Meanings of Decapitation in the Ancient Near EastMeus

by Rita Dolce*

The act of decapitation

The act of displaying

Destinations of the SH: some pieces of evidence

The moving SH

Abstract

Key words:

Figure 5.1: Neo-Assyrian bas relief.

Figure 5.2: Detail of the Stele of Vultures (IIIrd mill. BC).

Figure 5.3: Example of paintings from Catal Höyük.

Notes:

Description based on print version record.

ISBN:

9781784914042

1784914045