Mesopotamian Portraiture in Context
*Demonstrates skill/
Skill implies practice
And investmentSubject matter
Important…..
*Proportion and
Symmetry
Representational
And idealized.
*Eyes are
Exaggerated
Figure 2-3 Female head
(Inanna?), from Uruk (modern
Warka), Iraq, ca. 3200–3000 BCE.
Marble, approx. 8” high. Iraq
Museum, Baghdad.
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• Last class we observed and
Analyzed using….
• Sensory Properties and Formal
Properties-what do we know
That analysis tells us?
Figure 2-5 Statuettes of two
worshipers, from the Square
Temple at Eshnunna (modern
Tell Asmar), Iraq, ca. 2700 BCE.
Gypsum inlaid with shell and
black limestone, tallest figure
approx. 2’ 6” high. Iraq Museum,
Baghdad.
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•Figure 2-5 Statuettes of two worshipers, from
the Square Temple at Eshnunna (modern Tell
Asmar), Iraq, ca. 2700 BCE. Gypsum inlaid with
shell and black limestone, tallest figure approx. 2’
6” high. Iraq Museum, Baghdad.
•Figures all standard proportions
Despite size variations…
•We presume commissioned
By those wealthy enough to
Have their own image in a
Temple….
•Eyes believed to represent eternal
Wakefulness and duty….
•Although commissioned by
individuals and representative of
them-the individuals in this
Instance mean to signify all
Humans in general as opposed to
Showing individual portraits
© 2005 Saskia Cultural Documentation, Ltd.
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Presentation of offerings to Inanna (Warka
Vase), from Uruk, Iraq, ca. 3200–3000 BCE.
Alabaster
• When you begin a descriptive
paragraph as an Art Historian,
also identify the WHO, WHAT,
WHEN, and WHERE in your
Description. This will include
Mention of the subject matter.
Then- explain the Work in detail.
(This includes Discussing sensory
and technical Properties)
•FORMAL CONCERNS:
Size increases in the upper bands…
Hierarchy of scale is present in the forms…
Costume changes on higher levels as well…
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• When you reach the next step
Of criticism and you begin your
Analysis-you discuss the FORM of
The piece. Go into detail about the
Issues of form that are internal to
The work-discuss balance, symmetry,
Emphasis and movement. You will
Analyze things like line quality, view
Of figures, placement in space, size
Comparisons…here you are talking
About the formal properties of art.
FORMAL
CONCERNS…Conceptual
representation*Not optical –composite
view…continuous perspective….
Figures are rigid but lines
descriptive
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•Figure 2-4 Presentation of
offerings to Inanna (Warka
Vase), from Uruk, Iraq, ca.
3200–3000 BCE. Alabaster, 3’
1/4” high. Iraq Museum,
Baghdad.
COMMUNICATIVE
CONCERNS
•First great work of
•narrative relief sculpture.
•WHAT is the story here?
•Conceptual representation•*Not optical –composite view
because they did not want to
show fleeting
aspect of figures.
•*Hierarchy of scale and proportion
And costumes are used to
Place value on the goddess over the
People in the hierarchy of gods and
Man….and to show man’s dominion
Over the animal world…
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•Figure 2-4 Presentation of
offerings to Inanna (Warka
Vase), from Uruk, Iraq, ca.
3200–3000 BCE. Alabaster, 3’
1/4” high. Iraq Museum,
Baghdad.
•What does this tell about the people/
Culture that made it?
•CONTEXT
CONCERNS
What do we already KNOW about the
Culture?
What can we link that we “read” here
To what we KNOW?
How can we use this piece of art to prove
A “truth” about the Sumerians?
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•So-in review:
•STEP 1: Identification and sensory
Description –address the subject here..
STEP 2: Analysis of FORM and
Examination of use of formal properties
That are stylistic decisions. Be specific here
STEP 3: When you begin to translate and interpret your analysis
into your conclusions to put it all in context, you can refer back
to your previous statements to make your connections. Here
you are addressing expressive properties and relying on
Documentary evidence
If you have some….
It is here that you will
Go deeper into content
Than you did in step 1
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•Here-formal narrative device offers a
new characteristic:: the head of the ruler
actually breaks through the top of the
register-a formal device that
adds to understanding of the content.
Also creates emphasis in a
narrative that is constant in its style of
depiction-blue stone unites
the entire background and overall
story….
•Figure 2-8b Peace side of the
Standard of Ur, from Tomb 779,
Royal Cemetery, Ur (modern Tell
Muqayyar), Iraq, ca. 2600 BCE.
Wood inlaid with shell, lapis lazuli,
and red limestone, approx. 8” x 1’
7”. British Museum, London.
•The form helps us
Understand the content
And how it relates to its
Context…
•Figure 2-8a War side of the Standard of Ur, from Tomb 779, Royal
Cemetery, Ur (modern Tell Muqayyar), Iraq, ca. 2600 BCE. Wood inlaid
with shell, lapis lazuli, and red limestone, approx. 8” x 1’ 7”. British
Museum, London.
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• What role does other
iconography have?
– Animals: lower status but
shown as part of heirarchy:
however, animal forms are
used to denote the sacred in
god-human imagery….
– Plants: Denote natural
world: usually lower but
worthy of offering
– Objects: As props for
narrative in reliefs
– Design elements: Serve to
organize the stories/frame
the images/direct the
eye/tame the natural world?
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How can put together
Everything we observed and
Analyzed here together and
Link it to what we know about
The Sumerians?
Notes quiz: ONE QUESTION:
Make ONE good statement
That links our detailed observations
And formal analysis
To something you think
Is relevant that you read
In the book or took notes on in class.
Use terms like: because or used to
•Figure 2-8b Peace side of the Standard of Ur, from Tomb 779, Royal
Cemetery, Ur (modern Tell Muqayyar), Iraq, ca. 2600 BCE. Wood inlaid
with shell, lapis lazuli, and red limestone, approx. 8” x 1’ 7”. British
Museum, London.
How could we put together
Everything we observed and
Analyzed and everything we
Know –and create some other
Questions about these
People and who they were?
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Figure 2-7 Fragment of the victory stele of Eannatum (Stele of the Vultures), from Girsu (modern Telloh), Syria, ca. 2600–2500
BCE. Limestone, full stele approx. 5’ 11” high. Louvre, Paris.
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•Marks an event or a grave or both (stele)
•How is this piece showing power and authority?
•Content (subject matter)?
•Symbolism?
•Hierarchy of Scale?
•Signs of Divinity?
•How does this work reflect the style characteristics you
have observed in other examples of Sumerian artwork?
Figure 2-7 Alternate View
Reverse side: fragment showing king letting vulture eat
the enemy
© 2005 Saskia Cultural Documentation, Ltd.
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More characteristics of Sumerian Sculpture:
•Bull-head often denotes virility
And power…(Symbolism)
Animals played a part in the heirarchy of
Sumerian Mythology (Subject Matter/
Symbolism)
This work of art is arguably of
monumental scale
Compared to human size. (Monumentality)
Figure 2-9 Bull-headed lyre (restored) from Tomb
789 (“King’s Grave”), Royal Cemetery, Ur (modern
Tell Muqayyar), Iraq, ca. 2600 BCE. Gold leaf and
lapis lazuli over a wooden core, approx. 5’ 5” high.
University Museum, University of Pennsylvania,
Philadelphia.
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•Another Style characteristic:
Heraldic Composition (Put it in your notes!)
Figure 2-10 Soundbox of the lyre from Tomb 789
("King's Grave"), Royal Cemetery, Ur (modern Tell
Muqayyar), Iraq, ca. 2600 BCE. Wood with inlaid
gold, lapis lazuli, and shell, approx. 1’ 7” high.
University Museum, University of Pennsylvania,
Philadelphia.
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Guidelines to making someone look really good on an ancient facebook site…
•TOP TEN Characteristics of portraits that communicate a powerful identity as part
of a narrative or as a singular image…this is form that reveals content and links to context
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Hierarchical Scale: The powerful person is larger than others or in center.
Monumental Scale: The image is very large.
Idealizing the Face: Showing him/her young, blemish free, attractive and/or old
and dignified—whatever is valued as perfect in that society…
Distorting or Idealizing the Body: Giving the person a strong muscular body, or
as is the case in Byzantine art, no body at all.
The Pose: Having a person standing or sitting upon a horse makes them look
more powerful. Gestures can have a symbolic significance.
Placing the person in a setting that evokes Power: a throne room, or performing a
miraculous act.
The Costume: In some societies certain clothing is reserved for those who have
power –sometimes it is a color-other times there are symbols of power ON the
clothing….
Relationship to other styles/things/people/environment-the image is shown in
comparison to something else or in reference to or association with someone or
something else (CONTENT)
Subject matter/narrative activities demonstrate a skill or superiority(CONTENT)
•
Symbols or writing accompany the image to suggest something that can’t be
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directly seen within the image (CONTENT)
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