Assyrian Art

Russell, John Malcolm

doi:10.1002/9781118325216.ch24

Cited by 31 publications

(2 citation statements)

References 55 publications

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“…Furthermore, Neo-Assyrian art of course did not exist in a vacuum of time and space and certainly borrowed motifs from earlier time periods combined with each period's own particular developments (Winter 1981: 26–29; Russell 2017). Recognizing these factors of Neo-Assyrian iconography, the artistic conventions in the northwest palace of Ashurnasirpal II are especially appropriate for the analysis of sword carry due not only to its abundance of material covering a wide range of scenes including battle, ritual, and hunting, but also because they form identifiable “visual formulas” 2 which are particularly manifest in the art of Ashurnasirpal II (Ataç 2006: 69).…”

Section: Methodsmentioning

confidence: 99%

Sword Carry in the Art of Ashurnasirpal Ii: Displays of Divine Authority

Chow¹

2020

Iraq

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This paper explores the meaning behind the two methods of sword carry depicted in the iconography of Ashurnasirpal II. While the sword is regarded as a prestigious weapon tied to the owner's identity, the implications of how such an understanding of the sword in the Neo-Assyrian Empire might further delineate the underlying messages of the palace reliefs of Ashurnasirpal II remain unaddressed in secondary literature. As a result, through a combination of a cognitive analysis in regards to the significance of the sword's appearance in Neo-Assyrian texts and iconography as well as an analysis of visual formulas in the palace reliefs of Ashurnasirpal II as identified by Mehmet-Ali Ataç, this paper argues that the visual representation of the sword is intended to communicate not only the wielder's power and wealth but also the wielder's exercise or restraint of divine authority based on the carry method displayed.

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Section: Methodsmentioning

confidence: 99%

Sword Carry in the Art of Ashurnasirpal Ii: Displays of Divine Authority

Chow¹

2020

Iraq

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“… 30 Thus, Botta worked at Khorsabad between 1843–1844, and not between 1842–1844 as Russell wrote (Russell 2017: 485).…”

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First Steps in the Archaeology of Assyria: Botta's Letters and the “Excavation House” at Khorsabad

Genç¹

2019

Iraq

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Paolo Emilio Botta, who was sent to Mosul as the French Consul in 1842, explored at Kuyunjik and Nebi Yunus and then began investigating ancient stone foundations at Nebi Yunus. Muhammed/Mehmed Pasha and local religious leaders, who were worried that the tomb of prophet Yunus (Jonah) and a local mosque would be destroyed by the excavations, opposed these investigations and the work stopped as a result. After Nebi Yunus, Botta started to work at Kuyunjik in December 1842. While his workers were busy at Kuyunjik, someone from the village of Khorsabad talked about stones with inscriptions and reliefs on them on top of a hill. After three months of exhaustive work at Kuyunjik, on March 20th, 1843 Botta sent a group of workers to Khorsabad for excavation. However, problems arose about Botta's work in Mosul. The Pasha of the province in particular created obstructions. We have done research in the Ottoman Archives of the Prime Ministry of Turkey on Botta's excavation permits and documents, the obstructions created by the Pasha of Mosul, the details of the story of Botta's experiences at Khorsabad and the relevant correspondence. In these archives we have found documents about the problems Botta experienced at Khorsabad, the conditions for excavation permits and the construction of an excavation house, the plan of the excavation house mentioned by Botta, which was drafted like a fortress next to the village houses and sent to Istanbul, as well as petitions of the villagers opposing Botta's work and his excavation house. Here, we attempt to re-read Botta's excavation seasons, permits and the problems he encountered through the documents in the Ottoman Archives in order to understand how this period is to be understood. Through these documents and correspondence, we were able to study the problems that arose between the Ottoman State and France as a result of Botta's excavations at Khorsabad.

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Fast Way Upstairs: Transformation of Assyrian Hereditary Rulership in the Late Bronze Age

Nemirovsky

2020

The Evolution of Social Institutions

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Assyrian Art

Cited by 31 publications

References 55 publications

Sword Carry in the Art of Ashurnasirpal Ii: Displays of Divine Authority

Sword Carry in the Art of Ashurnasirpal Ii: Displays of Divine Authority

First Steps in the Archaeology of Assyria: Botta's Letters and the “Excavation House” at Khorsabad

Fast Way Upstairs: Transformation of Assyrian Hereditary Rulership in the Late Bronze Age

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