In Near Eastern Culture the Winged Genius Often Represented in Art and Artifacts Was a God
It was in the ancient Most Eastward, the so-chosen Cradle of Civilization, that the birth of art took identify. Centuries before the easily recognizable Greek and Roman artistic traditions flourished, the civilizations of the Near East, which stretched from the Levant through Anatolia, Mesopotamia, Elam, and key Asia, were producing complex and varied works. The archeology of this region is unique, due to the fact that many of these ancient cultures settled in oases--isolated areas that provided the necessities of life in the midst of the harsh desert climate. Such sites were occupied for thousands of years and often past more than i cultural group.
Thus, this vast geographical surface area boasts a diverse assortment of styles which are afflicted by the idiosyncrasies of the specific region and people and differ from menstruation to menstruation. Although a unmarried stylistic unity is non axiomatic, the cross-cultural exchange of ideas, materials, and forms is easily discernible.
Sculpture
Head of a Genius
Virtually Eastern (Assyrian)
replica: from the Gipsoformerei, Berlin
medium: plaster; alabaster original
souvenir of: the Nasser Family
appointment of the original: c. 883 - 859 BCE
provenance of the original: Palace of Kalhu, Kalhu (mod Nimrud), Republic of iraq; now in the Pergamonmuseum, Berlin
clarification: This relief of a genius, or protector demi-god, originates from the reign of Ashurnasirpal Ii, an Assyrian male monarch whose success came from his numerous campaigns, his military leadership, and diplomacy. This specific relief was found in the king's palace in Kalhu, and was one of many such reliefs that busy the palace walls. Genii were anthropomorphic supernatural beings, but they as well could be represented as animal hybrids with the heads of eagles. They often had wings and were considered protective deities, particularly with respect to royalty, which explains their frequent depiction in palaces.
Presumed Head of Hammurabi
Near Eastern (Babylonian)
replica: from the Louvre, Paris
souvenir of: the Nasser Family
medium: plaster; diorite original
appointment of the original: early 2nd millennium BCE
provenance of the original: Susa (modern Burke), Iran;
now in the Louvre, Paris
clarification: This presumed portrait caput of the Babylonian king Hammurabi (1792-1750 BCE) was once part of a full-length statue. the type of headdress and the artistic style in which the hair and beard are carved allows art historians to date this statue to the era of Hammurabi or just prior. Despite the naturalistic expression and aged facial features, it is difficult to pinpoint the identity of the figure. Hammurabi's fame is due in large part to his detailed law code, which predates Biblical law, and he is recognized for ushering in the kickoff of Babylon'due south political dominion over southern Mesopotamia.
Adult female Holding An Aryballos
Virtually Eastern (Sumerian)
replica: from Louvre, Paris
souvenir: of the Nasser Family unit
medium: plaster; alabaster original
date of the original: 2114 - 2004 BCE provenance of the original Girsu (modern Tello), Iraq; now in the Louvre, Paris
This beautiful statuette was created during the Third Dynasty of Ur, which was known as the 'Sumerian Renaissance', a period in which Sumerian art and literature began to flourish. This portrait exemplifies a desire by artists to depict the subject field in a more realistic way. She is seated with her feet close together while holding an object, here a perfume vessel called an aryballos, which was possibly used in ritual offerings and prayers to the gods.
Although the woman presented in this portrait is of high condition, it is not clear who this woman is. She could exist princess Enanatuma, who was as well a priestess and representative of the goddess Ningal during ritual activeness. Ningal was the wife of the moon god Nanna and the mother of the sun god Utu.
A 'Princess' of Bactria
Near Eastern (Bactrian)
replica: from Louvre, Paris
gift: of the Nasser Family unit
medium: plaster; calcite and steatite original
date of the original: late 3rd to early 2nd millennium BCE provenance of the original Bactria-Margiana Complex, Afganistan; now in the Louvre, Paris
Bactria was located in modern day Afghanistan and was a wealthy state due to their substitution of raw materials with Mesopotamia. This elegant statuette of a women in an elaborate dress was one some forty such figures found throughout Bactria and are commonly referred to as "Bac- trian princesses."
While nearly "Bactrian princesses" are depicted seated, this one is shown standing and is a slightly larger size than the others. Her wearing apparel is quite striking and total, sculpted from green- ish-grey steatite and represents a kaunakes , a Sumerian manner of skirt made of tufts of wool, hither having the appearance of leaves. It has been speculated that these objects correspond a female divinity, although no definitive proof has been constitute to support this claim.
Semitic Gods
Near Eastern (Palmyrene)
replica: from the Louvre, Paris
date of the original: 1st or 2nd century Advertising
provenance of the original: Court of the Temple of Bel, Palmyra, Syria; now in the Louvre, Paris
description:Relief of three standing gods, facing front end, all in military garb. Plaster replica; limestone original. Height 61 cm, width 73 cm, depth 16 cm.
This triad of Baalshamin (eye) and Malakbel and Aglibol (gods of the lord's day and moon) comes from the temple of Bel in Palmyra in the Syrian desert on an of import caravan route to Babylonia. It is probably the work of a Greek artist, on the outskirts of the Roman Empire in the first or second century Advert. The view that information technology is of an fifty-fifty afterwards appointment could find its defenders.
The frontality and resulting hieratic attitude reinforced by the identical posture of all 3 is mayhap an eastern artistic habit in representing figures, simply a western approach is evident in details. The spread of western influence to Palmyra is evident from the Hellenistic lamellar armor worn past the gods and the Romangladius (sword) carried by all three. Underneath are worn traditional eastern tunics and trousers.
(See also: Relief of Aththaia; Relief of Maliku.)
Panel from the Frieze of Archers
Near Eastern (Achaemenid Persian)
replica: from the Louvre, Paris
souvenir of: the Nasser Family
date of the original: c. 510 BC
provenance of the original: Tell of the Apadana, Palace of Darius I, Susa, Islamic republic of iran; at present in the Louvre, Paris
description: Depicts a continuing archer. Resin panel; replica of office of the original frieze of polychrome glazed siliceous brick. Height 100 cm, width 35 cm, depth 6 cm.
Ane panel from a frieze at the Palace of Darius the Great (548-486 BC). The frieze displays 2 symmetrical lines of soldier-archers.
Each archer holds a spear with both easily, with his bow and quiver over his shoulder. The archers are bearded and vesture laced ankle boots, long Western farsi robes, and diadems.
The frieze was inspired past the Processional Way in Babylon, constructed by Nebuchadnezar Ii (604-562 BC). However, the technique involved is unlike. The Babylonians used clay for their bricks, merely this Persian frieze has bricks of a siliceous clay. They are decorated in low relief and with glazes of light-green, brown, blue, white and yellow.
The original location of the frieze of archers in the Palace of Darius is unknown, as the bricks and fragments were constitute scattered throughout the palace.
Ivory Winged Sphinx
Near Eastern (Phoenician)
replica : past artist Carrie Allen
gift of : the Nasser Family unit
appointment of the original: 9th-eighth century BC
provenance of the original: Fort Shalmaneser, Kalhu (Nimrud), Iraq; now in the British Museum, London
description: Ornamental sphinx. Plaster reproduction; ivory original. Tiptop 5 cm, widthursday 7 cm.
The aboriginal Phoenicians were renowned artisans and adept ivory carvers. Stylistically, Phoenician wares practise not follow a strict artistic tradition, but prove the influence of neighbouring cultures' styles.
Egyptian influence can be conspicuously seen in this replica carving, which features a winged sphinx (see: Sphinx) adorned with the crown of Upper and Lower Egypt.
Baal
Near Eastern (Canaanite/Semitic)
replica: by artist Carrie Allen
gift of: the Nasser Family
date of the original: 18th-15th century BC
provenance of the original: western wing of the Temple of Baal, Acropolis, Ugarit (Ras Shamra); now in the Louvre, Paris
description: The god Baal standing with a club in his raised right hand and a lightning bolt/spear in his left; a smaller effigy stands nether Baal's dagger. Plaster replica; limestone original. Height 151 cm, width 51 cm, depth four cm.
Baal was a Canaanite fertility deity who later emerged as a rain god. Thus he became known equally a rider of clouds, almost active during storms.
Although the most vigorous and ambitious of the gods, he was the one on whom mortals depended about. Baal's disappearance into the netherworld with the rainclouds was believed to bring about the dry summer. The cult of Baal celebrated his death and resurrection annually.
The eclectic artistic way represented by this panel grew out of a maritime livelihood. The Canaanites developed permanent cities along the coast of mod-day Lebanon. The items they produced were for Mediterranean and Near Eastern clients. By creating art that had an unusual combination of decoration, they achieved stylistically attractive and symbolically recognizable goods. Egyptian influence is apparent in this carving of Baal in his "smiting" pose.
Gudea of Lagash
Almost Eastern (Neo-Sumerian)
replica : from the Louvre, Paris
gift of : the Nasser Family unit
date of the original: 2120 BC
provenance of the original: "Tablet Mound," Tello (ancient Girsu), Iraq; at present in the Louvre, Paris
clarification: Gudea seated, wearing turban with stylized curls, with hands joined. Plaster replica; diorite original. Height 47 cm, width 23 cm, depth 32 cm.
Gudea wasensi (governor) of the Sumerian city-country of Lagash from 2144 to 2124 BC. He as well wielded a consierable amount of influence in other parts of Mesopotamia. In the foundations of a temple to Ningirsu (a state of war god) he buried a number of clay tablets with cuneiform (see:Black Obelisk) inscriptions. These tablets give accounts of his activities at the temple which communicate his feelings, moods, and dreams.
The original of this statue of Gudea is made of diorite, imported from Arab republic of egypt. All only ane of the twenty extant statues of Gudea were crafted from this stone. His clean-shaven face is calm and smile; large, fishbone-like eyebrows arch above his almond-shaped optics. Here he is depicted wearing the royal turban and an Akkadian draped/fringed robe which leaves one muscular arm uncovered. His joined hands are a symbol of piety.
The statue'south proportions are unusual: the absenteeism of a neck makes the head seem besides large for a body that looks besides small. However, the undeniable quality of the workmanship rules out clumsiness on the part of the sculptor. The figure'due south odd proportions are probably a stylistic convention of the period.
Pottery
Herodian Juglet
Near Eastern
original
gift of: Lois Dumbovic
date: c. get-go century Advertizing
provenance: Jerusalem
description: A wheel-made terra cotta juglet with a globular body, pocket-size neck and rim (damaged), and flat handle. The body bears a grooved pattern. It is a table juglet, used for storing, preparing and serving liquids. Height 11 cm, diameter ix cm.
(See as well: Black Pottery Juglet; Small Blackness Juglet; Hellenistic Juglet.)
Black Pottery Juglet
Most Eastern (Late Statuary Age)
original
gift of: Lois Dumbovic
appointment: c. 1500-1200 BC
provenance: Jericho
description: This black clay, one-handle juglet is a bike-made table vessel. Height 14 cm, diameter 8 cm.
(See also: Herodian Juglet; Small Black Juglet; Hellenistic Juglet.)
Hellenistic Juglet
Near Eastern
original
gift of: Lois Dumbovic
date: c. 200 BC (Hellenistic Catamenia)
provenance: Jerusalem
description: A small terracotta juglet, roughly made with an uneven base. There are groups of 3 incised lines in alternating directions on its body. Information technology was probably a dipper juglet. Top 7 cm, diameter 4.5 cm.
(See as well: Herodian Juglet; Black Pottery Juglet; Pocket-sized Black Juglet.)
Piriform Jug
Syro-Palestinian
original
gift of:the Minden Family
date:c. 20th - 18th century BC
provenance:Syro-Palestine
description:Jug with a piriform body, cylindrical cervix and double loop handle.
Terracotta.
Height: sixteen.7 cm
Diameter: ten cm
Intact, overall vesture and encrustation.
Pocket-sized Blackness Juglet
Well-nigh Eastern (Fe Age)
original
souvenir of: Lois Dumbovic
appointment: c. 1000-900 BC
provenance: Hebron
description: This small, black-slipped juglet is roughly made with an uneven cone-shaped base. Information technology was probably a dipper juglet, used for pouring out small amounts of precious liquids like perfume or oil. Dipper juglets containing olive oil were commonly used to fill up oil lamps. Height 6 cm, diameter vi cm.
(See also: Herodian Juglet; Black Pottery Juglet; Hellenistic Juglet.)
Tapered Juglet
Syro-Palestinian
original
souvenir of:the Minden Family
appointment:c. 1st - 2nd century Advertizing
provenance:Syro-Palestine
description:Juglet with a tapered body, loop handle.
Terracotta.
Top: 21 cm
Diameter: vii.1 cm
Intact, small-scale encrustation.
Oil Lamps
Geometric Oil Lamp
original
gift of:the Minden Family
engagement:c. 6th century AD
provenance:State of israel
clarification:Lamp busy with linear geometric panels.
Terracotta.
Width: 6 cm
Height: nine.6 cm
Intact, encrustion, label bearing "17" to the base.
Hellenistic Oil Lamp
Well-nigh Eastern
original
gift of : Lois Dumbovic
date: c. 200 BC
provenance: Jerusalem
description: A pocket-sized terra cotta lamp with a geometric design on the shoulder. Soot marks. Mould-fabricated. Length seven cm.
(Meet also: Herodian Oil Lamp; Jewish/Samaritan Oil Lamp.)
Herodian Oil Lamp
Near Eastern
original
souvenir of: Lois Dumbovic
date: c. 37 BC - 100 Advertizement
provenance: Jerusalem
description: This undecorated terracotta lamp has a circular, bicycle-
made body, termed a "pocketknife-pared" lamp, typical of its period. It is heavily encrusted with dirt and soot. Length 8 cm.
(Encounter likewise: Hellenistic Oil Lamp; Jewish/Samaritan Oil Lamp.)
Herodian Oil Lamp
original
gift of:the Minden Family
date:c. 1st c. Advert
provenance:Israel.
description:Lamp of Herodian form.
Terra cotta.
Height: ix cm
Width: v.4 cm
Handle broken, encrustation, label bearing "15" to the base of operations.
Jewish/Samaritan Oil Lamp
Nearly Eastern
original
gift of: Lois Dumbovic
engagement: 300-500 AD
provenance: Jerusalem
description: Black clay lamp with a complex geometric and rosette blueprint on the shoulder and a fan-shaped handle. Mould-made. Length 9.25 cm.
(See also: Herodian Oil Lamp; Hellenistic Oil Lamp.)
Pinched Oil Lamp
Syro-Palestinian
original
gift of:the Minden Family
date:c. 8th century BC
provenance:Syro-Palestine
clarification:Lamp of saucer class with a pinched nozzle.
Terra cotta.
Height: v cm
Width: fourteen.2 cm
Intact, encrustation.
"Wreath" Oil Lamp
original
gift of:the Minden Family
date:c. quaternary century Advert
provenance:Israel.
clarification:Lamp decorated with a wreath.
Terracotta, scarlet sideslip.
Meridian: 7.5 cm
Width: 5.8 cm
Intact, wear, encrustation, label bearing "sixteen" to the base.
Figurines & Amulets
"Hell" Plaque
Near Eastern (Neo-Assyrian)
replica : from the Louvre, Paris
souvenir of : the Nasser Family
engagement of the original: 934-612 BC
provenance of the original: Mesopotamia or Syrian arab republic; now in the Louvre, Paris
description: Relief scenes on plaque with figurine peering over the top. Resin replica; bronze original. On base: height 15.5 cm, width 10 cm, depth iv cm.
The and then-called "Hell Plaque" is an Assyrian healing device against the demoness Lamashtu. Often called "she who erases," Lamashtu was blamed for the deaths of children and mothers, poisoning water, killing plants, and causing nightmares. She was also believed to consume the flesh and drink the blood of adult men. She had a hairy trunk with the caput of a lioness, the teeth and ears of a ass, and bird talons.
This plaque was hung over the bed of an invalid in hopes of driving Lamashtu out. She herself is depicted in the lower register, holding snakes and suckling king of beasts cubs while riding a ass in a boat. The uppermost annals displays the different gods involved in the healing process: the sun of Shamash, the crescent moon of Sin, the lightning bolt of Adad, and the winged disc of Ashur. In the second register, seven animal-headed spirits guard the door to a bedchamber. In the third register, the patient is depicted lying on a bed, flanked by two priests, who are aided past three creature spirits. Overlooking the plaque is Lamashtu's married man, the demon Pazuzu (see: The Demon Pazuzu), the simply i who is able to coax her abroad.
The Demon Pazuzu
Near Eastern (Assyrian)
replica: from the Louvre, Paris
gift of : the Nasser Family
date of the original: late 7th-8th century BC
provenance of the original: Mesopotamia; now in the Louvre, Paris
description: Demon with a double set of wings, head of a dragon/snake, torso of aman with one upraised arm, scorpion's tail and talons. Resin replica; statuary original. Height 18 cm, width ix cm, depth 5 cm.
The demon Pazuzu was the Assyrian male monarch of the demons of the wind. He was associated in item with the southwest wind that brought droughts, famine and locusts. Although a demon, Pazuzu was a source of protection against the demoness Lamashtu (often depicted equally his married woman): he could bulldoze her dorsum to the underworld (meet: "Hell" Plaque). Because Pazuzu could protect confronting Lamashtu, his image was often used on protective amulets or plaques. Pazuzu was depicted equally a man with the head of a lion or domestic dog, talons instead of anxiety, ii pairs of wings, and the tail of a scorpion. His right hand is raised and his left hand is extended downwardly: this position represents life/death and creation/destruction.
The original statuette has an inscription on the back (non nowadays in this replica) stating"I am Pazuzu, son of Hanpa, king of the evil spirits of the air which issues violently from the mountains, causing much havoc." The ring atop his head suggests that the piece was intended to be hung, peradventure in the room of an invalid.
Goddess or Adorant
Syro-Palestinian
original
gift of:the Minden Family
appointment:c. 2000 BC
provenance:Syro-Palestine
description:Figurine representing either a goddess or an adorant.
Height: 12 cm
Diameter: 4.5 cm
Pastiche rejoined from fragments, small-scale encrustation.
Two Bronze Deities
Almost Eastern (Syrian/Canaanite)
replica: from the Louvre, Paris
gift of : the Nasser Family unit
date of the original: 1500-yard BC
provenance of the original: Syrian arab republic
description: Two figures (one male, 1 female) fastened at the hip. Statuary replica; statuary original. Height thirteen.5 cm, width 5 cm, depth iv cm.
This Canaanite figurine is feature of divinity statues from Syria. The figures are very flat in shape, with big bald round heads, large narrow noses, long slender necks and inset optics.
It is mostly agreed that these images describe male and female person deities. About of these figures have been found in sanctuaries and in high or remote places, and thus seem to hold some ritual significance. They may have functioned as votive statues (see: Cycladic Idol;Kouros of Paros) or amulets (see: Faience Amulets; Statuary Amulets).
This figurine was cast in statuary using the lost-wax method. Other similar pieces were made from silver and gold, created by hammering the metallic over a bronze core. These figurines may take had wooden precursors which are not preserved in the archaeological record.
Inscriptions
Boundary Stone With Inculcation Anniversary
Near Eastern (Babylonian)
replica: from Gipsoformerei, Berlin
gift: of the Nasser Family
medium: plaster; limestone original
engagement of the original: stop of the 8th century BCE provenance of the original Likely Susa (modern Shush), Islamic republic of iran; now in the Pergamonmuseum, Berlin
description: This kudurru, or purlieus rock, was excavated at Susa in 1912 along with several other such stones. Depicted on this kudduru are the Baby- lonian rex Marduk-apla-iddina II and his loyal vassal Bel-ahhe-eriba, to whom the male monarch grants country. To a higher place them are symbols of various gods such as Marduk (a snake-dragon), Ea (goat-fish and/or ram's caput), and Nabu (a wedge and ophidian-dragon), who witness and guarantee the legal transaction carved in the extensive cunei- course text that appears on the sides and the back of the kudurru. Kings would often souvenir land to vassals in social club to ensure their loyalty to his rule.
Urkesh Lion
Near Eastern (Akkadian)
replica: from the Louvre, Paris
gift of: the Nasser Family
appointment of the original: 21st century BC (Empire of Ur III)
provenance of the original: Tell Mozan (Northeastern Syria); now in the Louvre, Paris
clarification: King of beasts perched on tablet. Resin replica; copper and limestone original. Lion: height 12 cm, width 8.5 cm, depth iii cm. Taballow: tiptop 10 cm, width 8 cm, depth 3 cm.
Foundation pegs, like this replica of the Urkesh Lion from the temple of Nergal (god of the underworld), were planted in temple foundations for protection. They served equally offerings and were inscribed with cuneiform curses (the text on the Urkesh Lion's tablet is the oldest inscription in the Hurrian linguistic communication) which warded the temple from harm and desecration.
An approximate translation of the curse:
"Tishatal, [Endan] king of Urkesh, has built a temple for the god Nergal. May the god Nubadag protect this temple. May Nubadag destroy whomsoever seeks to destroy [it]; may his god not listen to his prayers. May the Lady of Nagar, [the sun god] Shimiga, and the god of the storm [curse x,000 times whomsoever might seek to destroy it]."
Panel from the Black Obelisk of Shalmaneser Iii
Near Eastern (Assyrian)
replica: from the British Museum, London
gift of: Dr. Gary Hanson, for Dr. Michael Swan, for excellence in graduate teaching supervision
date of the original: c. 825 BC
provenance of the original: Kalhu (Nimrud), Iraq (discovered by Sir Austen Henry Layard in 1846); now in the British Museum, London
description: This is ane side of the original obelisk, which stands two metres tall and has four sides, each with 5 picture panels interspersed with cuneiform inscriptions. There is also cuneiform above and below each ready of pictures. The inscriptions tape the annals of 30-ii years of the reign of the Assyrian king Shalmaneser Iii (r. 858-824 BC). Most of the illustrations tape the tributes brought to Shalmaneser by various vassal kings. This panel: plaster replica; black alabaster original. Height 112 cm, width 55.5 cm, depth v.5 cm.
The Black Obelisk became famous when scholars realized that it made reference to Jehu, King of the Israelites. who is mentioned in the Old Testament (Kings 19.sixteen; 2 Kings 9-10). A descendant of Shalmaneser III, Shalmaneser V, is mentioned in 2 Kings 17:3 and 18:9. The Black Obelisk too mentions the King Hazael of Damascus who appears in the Old Testament (2 Kings viii:28f; ix:14f).
The top console of the replica shows Sua, the Gilzanite, bringing tribute to Shalmaneser, who is continuing to the left, armed with a bow and arrows and accompanied past an attendant and soldier. Higher up this scene are the winged sun-disc, divine symbol of the god Assur, king of all of the bang-up gods, and the 8-pointed star, divine symbol of Enlil, creator and male parent of the gods.
The 2d console, which is possibly the most meaning, depicts Shalmaneser receiving tribute from Jehu, rex of Israel, who is prostrate earlier the king. Shalmaneser holds a bowl in his raised hand and is sheltered by a parasol held by an attendant.
The tribute of the land of Musri, illustrated on the third panel, consists entirely of animals led or driven by attendants dressed in genu-length garments.
The fourth panel illustrates two lions hunting a stag in a forest, perhaps reminiscent of the countries which Shalmaneser has conquered.
The lesser panel records the tribute of Karparunda of Hattina, brought forth past porters wearing pointed caps.
Translations of the inscriptions describing each scene:
I.Tribute of Sua, the Gilzanite. Silver, gold, lead, copper vessels, staves (staffs) for the mitt of the king, horses, camels, whose backs are doubled, I received from him.
II.Tribute of Jehu, son of Omri. Silverish, gold, a golden saplu (bowl), a golden vase with pointed bottom, aureate goblets, pitchers of gold, tin can, staves (staffs) for the mitt of the king, puruhtu (javelins?), I received from him.
III.Tribute of the land of Musri. Camels whose backs are doubled, a river ox (hippopotamus), a sakea (rhino), a susu (antelope), elephants, bazîtu (and) uqupu (monkeys), I received from him.
IV.Tribute of Marduk-apal-usur of Suhi. Silver, gold, pitchers of gold, ivory, javelins, buia, brightly colored and linen garments, I received from him.
5.Tribute of Karparunda of Hattina. Silver, gold, lead, copper, copper vessels, ivory, cypress (timbers), I received from him.
Cylinder Seal
Most Eastern (Babylonian)
original
souvenir of : Professor Thurston Lacalli
date: 4th to 2d millennium BC
provenance: purchased by donor
description: An original black stone cylinder seal, with hole through centre. Engraved with symbols and figures depicting a presentation scene. A moulded impression of the seal is mounted beside. Length 2 cm, diameter 1 cm.
Cylinder seals were rolled over wet dirt, leaving an engraving on tablets, bricks or ceramics. The use of these seals coincides with the use of clay tablets in the Near East which began at the finish of the fourth millennium BC.
This seal is probably Babylonian; possibly Sumerian.
Relief of Maliku
Virtually Eastern (Palmyrene)
replica : by creative person Carrie Allen
gift of : the Nasser Family
date of the original: 200-250 AD (Roman Period)
provenance of the original: Palmyra (Tudmur), Syria; at present in the Louvre, Paris
description: Reclining man belongings a small vessel; his married woman sits to the side. Inscription at top. Plaster replica; limestone original. Superlative 52 cm, width 45 cm, depth 4 cm.
This funerary stele depicts a man named Maliku, accompanied by his wife, Hadira, attention a banquet. Information technology was custom in the Greco-Roman world to recline at banquets, and in Palmyra it became common to represent the exercise on funerary steles. The faces of the deceased were always shown straight-on to the viewer, the eyes enlarged with incised pupils, sometimes highlighted with color.
Maliku is clothed in the Parthian tradition of caravan traders, with an embroidered tunic, embroidered baggy trousers, and a cloak held with a fibula at the shoulder. Hadira is adorned with jewelry reflecting the prosperity of her married man. Although she occupies an honoured position beside Maliku, even reaching the aforementioned acme as her reclining husband, her lower status is indicated by the fact that she is seated at his feet. The inscription is in Palmyrene (an Aramaic dialect) and reads"Image of Maliku, son of Hagegu, son of Maliku, priest of the temple precinct, alas! and Hadira his married woman."
(Encounter also: Relief of Aththaia; Semitic Gods.)
Relief of Aththaia
Well-nigh Eastern (Palmyrene)
replica: by creative person Carrie Allen
souvenir of: the Nasser Family
appointment of the original: 150-200 Advertisement (Roman Menstruum)
provenance of the original: Palmyra (Tudmur), Syria; now in the Museum of Fine Arts, Boston
description: Relief bust of a woman adorned with jewelry, touching her draperies with i hand. Inscription at right side. Plaster replica; limestone original. Height 53 cm, width 43 cm,depth 15 cm.
This funerary stele depicts a woman named Aththaia, dressed in a full tunic and long himation which covers her head. Beneath this she wears a headdress and diadem with a string of jewels. She has elaborate earrings, two necklaces, three bracelets, three rings, and a brooch with 3 pendants. Her attire shows strong eastern influences.
The inscription, in Greek, reads"Aththaia, girl of Malchos, dear 1, farewell."
(See likewise: Relief of Maliku; Semitic Gods.)
Metal Crafting & Jewelry
Source: https://artsandscience.usask.ca/antiquities/collections/items/near-eastern-items/near-eastern.php
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