\ыщ ^ PROBLEMS (F HITTITE ART lo MS - 1 -
W^iat is {f-W-tite art? What place does it occupy amo
ng other arts of the Ancient ^ast? ?rhat means the паше/
Rarely any art has been so problema tic alt « __
'Hwy-jaoaorn ara a Hittite/is derived from Mb±±tH3_L
\ TçhittTm, used a couple of times^to designate not always
the same, but people of an old native group in - -yria fi
and neighböurjSS-jiÄ^W^Hebr. Khi ti, As syr, Khatti, E*.
gyp t. He ta, all reflect an original khatti7~nâ!Hg~''ôî^b~
origines in middle AsiaMinor, who)!? spoke a language ф t <У <ЩР »'•j-kiiingiBQ» Щ a rare Caucasian уяг.^/Гу- and who had ootab-- Ш__№'1 a state of their own in the 5rd and the beginni ng of the 2nd millennium B.C.- s - . -nA- îè^^cA ,- i-tyU —- •"bout 1800^they »vere conquered by another nation,
perhaps newcomers, who established a mighty empire and
destroyed, in 1750, what regained of the old Sumero-Ak- 1 Ü№\ СЛАллЛ,, ЫАМ k-vv- ft 4 kadian glory in Babylonia. Ш«н__. ;тйтл i|4re\unknown, as is their name. 3й theft e; nlrn yrlnnguage
somehow related to the Indo-Europ. family, which tihr—
. «.1«. n»3ìiiwì nasili, "Nastan". Perhaps that *т& .
al s^ their real ethnical name^ ^dt^-b^r//w^- é*«*? ,/ * Н4*СА*Э<Г . - ил** , jfëfaét,; &*4* /r Л u^a --, * 1\ C^U^CAJ - Hi . 2 -
We know the. ."language well froe the thousands of doc-
4— uments fro® Boghazköi. Most awkwardly_J^or this langua-T) excusable only inasmuch as the name ''nasin was s till) unknown at th« time -y^e/TIgé. to-day, tne name "Hit-taxe" nas been adopted,iand tf
the nation hence is £Ошш_Жу called ''the Hittites", T
**-- % ^-V^ *"*^ • bn which ^^^^^ 8^ !^^-^^ ..^^^&^ / apîkF PHI ja mr ni Дг fr flâa-tAnfflâohodjOf the same language3. Tf there is some- >?Vе r/ thing w>ong in oLir modern terminology, it is calling thf - at nation and their language "Hittite". ? )Boghauzlc Qod. For archaeological purposes we need a name for the "Kulturkreis", the sphere ofi civilisationyto which all_a thsrriT-oduetOi nut on_ y -_J »oty o£ the/lhatti, Nasi and ad/ so many others^belonai That civilisation begin* in the A M& . stone-age and endfexonly sHriterti'HG of Älexander the fi Great, that means ft l_eôfô|/56G0 years, and it ^1 at least Asia Minot in its widest meaning, North-ifîyria mid Mesopo ЬьтхаУЦпа »r Mesopotamia-1 шоАцр^Уо1у___цп Wat-fiacl .-£_1 ПШегп JazTrafthe land between the -4iphr- ates and Tigris, 7* Hitt. 8 - ates and Tigris, -jfchu -Rum^4iPQvi«oe~ ^ but » .vBabylonla in the South,- and ftrfa/-jffiria Fast of the Tigiis,- For the n'fftrtrmnnj. Mesopotamien branch the names Hur— UArrt-^hr. ri or Mitannu have tentatively been adopted, lately, >. with the emphasis of a great discovery. But the people bearing those names düß- appear before the 2nd millennium, are obscure as for ethnical relation and historical pa- rt, ?and never spr over the western regions of the same sphere of civilisation whereas the people of Asi 3 Mino.?, at least partly, did the 4-J__*_?-__ry. 5) -T.I-f.^oddooe Quite recently, A.Ungnad, the famous German assyri ologist, insists, dte strong arguments, wo _ _% тЧ> a3Ev~4ftotea.^. «if 'Hittite'ty the old fumerò »Baby lon«- ian term --»ubar(tu) ^^/Mesopotamia in wide limits, 4^6. /j*fc"- Л/ AaS the SW parts of our 'Kulturkreis1, and/speak^of Subarag„ ans /ofTits inhabitants. No doubt, the so-called Hurri or Witannu-people were Subaraeans as far as language f and C-iatoms go, and probably also as an ethnical group. But whether 3ubar was a geographical, ethnical or othef term is unknown, and the disadvatages (are equal: In ca<— — Hitt. 4 - ling e.g. a 7ork of art belonging to that sphere and w situated in the West of AsiaMinor "Subaraean" - not tu * say Subarite - Sybarite -, we would give it the name o/ a nation thaT surely did not produce it. ft*»- n h•** \ \- -чг '/ щт,Ап calling a similar work in Mesopotamia ' L'itti te! we givi it no ethnical name at all - there were never such 'Hittites', Qìiìy Krintti- - hence we don't imply any national authorship, but simply the belonging to a ? special civilisation. Where У* , civilisation includeg A\d6r a great number of peoples, an^emnical name is unfit for the /j ûi rf. 4) Swaootrie сси-^Ш.ь>Ь^ tfa/e, Therefore, I Ju-l лчлр-АЬъ name Hittite t > be changed, and stick it, the more so as, after all, it is already inveterated. Tt was suggested when v_ re than 80 years ago the first rock-sculptures of A- siaMinor attracted attention, and h afr ни. mm»» OUQet witk increasing knowledge. The excavations of Sendjirli in N.-Syria, since 1890, later those of Karkhemish on the %phrates, explorations at Boghazkei and Oyük in centr at AsiaMinor, retzealed/the existence of a cultural uni » " bc^ondic OtibtUf?-l Htt. 5 - aÀÀ&r Only .яша. I*.¥inckler, in 1906, discovered the archie* ves of Boghazköi, and when just after the ear the fir__ st attempts of deciphering were published, the startli ng fact was ootoMlQiiQd that the language of the -Empi re of Khattusa-Boghazkoi"from 1800 - 1200 B.C., was re lated tcrthe Inde-r\iropean family. A new branch of phi lology Sprang up, under the erroneous name "îïettitology* and in the excitement a less excusable misdeed was com.» Bitted: one began speaking of "the Indo-Europeans", or even "the Aryans of AsiaMinor".( Indo-European is a purЛ & linguistic, not an ethnical term, k/vax the^backgrou«. nd otmndo hojjc of an 0_Ы superior civilisatiun, created by "Northerners" in the less valued Ancient FastJ, The sculptures of some of those peoples, you saw just now, speak in favour of any Northerners. 5) Hieroglyphs. TheJ^oghazkëi-documents are written in Akkadia/ cuneiform väp e^, jWk__c_o, ab. the middle of the 2nd mill- ennim r#»s fadoptedk__as in Egypt^ for diplomatic and int-A JCT^ational affairs J But at the same time a native hier oglyphic script existed, which went on to be used for monumental uurposes, and after the end of the empire^ 7* - Hitt, - 6 - lived on in some of the succeeser-states. The deciphç_ ring has just started, and the language seems to be a dialect of the nasi-Hittite. Tt is only reasonable to -*• specimens assume that the oldest SFXXHEXXXMS we own.are not witne sses of the inventionj hieroglyphs must have existed y> before cuneiform was introduced, hieroglyphic script is old by definition. but not only men; works of art, but entire groups, we may say whole sites are without any writing, a point" of importance and generally neglected: it suggests for such works a date anterior to the common use of writing and certainly anterior to the introduction of cuneiform. 6) T.H., sfi rpio&u £___n .Such a site is TellHalaf with its amaa- zing awâunt of sculptures. Almost all Hittite sculptur—• v_ es^have been discovered not in their original stratum, but in second or - -drd use. Tt is the typical fate of those works of imperishable basalt. In T.HAlaf a/ inscription in Assyrian cuneiform has buen added ji • *у^ ч - ^ /yA^^. ~" 3} then^saying that the" were used, not made for the palace of a local ruler, who lived probably ab. 1200 3, &-_5hp-£f-y8j[a eafefiE^a^from T.Halaf has aggravated the — Hitt. 7 - problems, anaforces us to revise our entire attitude w towards 'Hittite', in this case 'Subaraean' monuments. It is a most complex problem, as shown by the fact th— . from-- at various scholars date the monnment^Jab. 5000 ©•*£•.> C.C/ tonn to 800/- From outside, that is an astonishing testimonium paupertatis, would mean the profession that archaeology was completely unable to selve the problem, 7 ) -Syrian ho ad, Jc inscriptions. There is no reason for such unconditional» Surrender. The method to deal with it is neither new юг untried* critical analysis of style. That method ne_ , _* ver rot'uooa, and yet has been questioned in our case, but only because the skeptics did not realize »hat is t|stylo". *'Le style c'est l'homme» is perfectly true. Style is essence, the sum of all intrinsic properties, as well as form, the «hole outward sfeape. Intrinsic p properties and outward shape must continuously change with history, /J ith time. One component of style is timf and analysis of style leads straight to a relative ch-. ^г Hitt.S - chronology. To transfer relative(chrónoìogy) into abso lute cjffer., some historical information is necessary, щ eh ich may come from purely literary sources, linked up with the archaeological material in a psychologically convincing way, or it may be achieved by comparison with foreign, dated works of art, which cannot fail en— on their relatively narro.. <ХЛ€&. tirely, because the old oriental civilisations"] were not without contact. 8) Iwriz. But to assign its place to the art of a whole spher^ of civilisation, which stretched over fi many lands and several thousand years, involves an intimate knowledge of everything comparable, Und comparable means not some single objects - which would soon prove to be complet ely misleading -, but the growth of large groups of ard iri various periods and lands. And there is almost no Meld of oriental .archaeology that is not directly tou ched, and certainly none not indirectly concerned, T am sorry to say that, up-to-date, research is far from being conducted on the level and scààe indispensable f .such a , for\ *_ task. Hence the generaLperplexity, — Hitt. 9 - archaeological research, like historical, starts ÎT да the object and traj.es its origin backwards, from ef— Гее to cause. Such preparatory work is utterly unpopu- lar. But, (as historiography is th et r e ver s ed ) progjpë s , j* from the causes to the effect, and^such representation causes wide-spred interest, so arcnaèolo^/caii describe and expose its results in historical order. ifhE Such p- ^bservations representation of interpreted xjpst» contains an indirect proof: the gv&uxe of things must be psychologically co nvincing. F^-or a short lecture I can only choose a few objects and interj.ret them after that method. ) Uruk, Many of the old sites, first aieong them TellHalaf, basalt .the existed since the stone age, and(sueceding strata, thr ough the copper age down to the beginning of the bronze 4.:e,/^ oincid_äfcg in Sumer with the beginning of history in ab. 3000 B.C., run parallel to the developments in Sumer. The last phase before history, end of the 4th nillennium.is called Jamdat-Nasr in Sumer. it belong/ a group of tiny objects, best represented by its only large piece, a basaltic stone, 2 l/2 feet high, from ïïruk. ^ou see a god, a lion-hunter, onee with lance, Hitt. 10 - once with bow, in a fresh, naive movement. The figures > are strewn over the block with nothing to stand on. Th^ background is the space in which -..hey act. That way the eriod deals with the problem of space. 10)stela J. al-baida ^ On the Jabalat al-baidâ hill, S. of TeliHlaf, baron von Oppenheim discovered 3 extraordinary monuments, the oldest great sculptures of the world, 2 stelae and 1 tf Statue, The stelae are 11 l/4 feet high, the human fig— gure alone a bit over life-size. The huge flat-cylindr- ical, pale-shaped stones recall the plain magalithie stone-pillars of the Mediterranean and of Europe. They are only slightly dressed, and set on a base. Both the stelae repeat the same picture on both their sides, ±и a sort of primitive substitute for a sculpture in the round. To avoid misunderstanding: primitive is a word often misused. One correct meaning is relative: mote primitive than an advanced piece. But absolute^ primitive art tfan only mean the art of primitive people i.e.^living in a primitive stage of society, of which _=ь . art is but a function. Primitive means a beginning and such are our stelae. — Hi . 11 - We see a g; d standing over the heads of two small men_. The 3 figures float in the air, as those on the basalt stone of Uruk. all sculpture in reli/f, as opposed to painting, soon comes to give their figures a common ba se, he ground о , which they stand. Here, that solid eartn beneath the feet has not yet been discovered. XJu f f иди -ан^-иртв-згся» ( * -4\ The god is meant to stand on the heads of the email men, a task the artist was still unable to solve, but the idea lives on in Hittite art, e.g. in this mature example of the 14th cent, from Yazylyqaya near Boghazk- koi# Ыяае Asany gods stand\on their totems, a manner '! symbolic expression exclusively Htttite, unknown to Sumer, - wh ere divine s_x attributes a.pp attached behind shoulders and heads, the origin of the nimbus -, wheims the Hittite style, as in many other cases became adopted Assyrian art. 12) Lady, Urn an se-peri od: The dress of the J. al-bai da. stela is a flounced shawl, wound around the hips, the end thrown over the left shoulder. î t le a naive, abbreviai Ь*Ч IS titra Шт. only 1 row of flounces __ s indicated. To call this dress "Suiaerian" Ì3 inadequate: there were various Sumerian garments. The typical dwarf/ you see here, is -? — Hitt. 12 - . v a Sumerian lady of the ïïrNanshe-perîod, УУОО вТс,- . — turf ДА ^>t4. - о rowsVbf flounces are represented on the kilt, R$ сет tain step forward. The covering of the left shoulder in South Syimer is reserved to women's dres3. But it is man's dress in northern.^umer, in K/ish ab. 3000 B.C., and 1й-.аЪ. 2750 B.C. in Akkad, both places quite near Babylon. Often Mesopotamia goes together with north IS) head. •turner, where this differs from the &>uth. The head of our stela has a nose shaped like a bir d's beak, in profile, a huge almontìf-ahaped eye in front* л view, close to it rounded lips, and at the other corne ** (^gelow ±ksKEx±s a broad beard in front-view^ an ear like a disk,>ANothing is missing except the rela_ tion between those elements: forehead and cheek are У but the interstices between the more important parts of thés addition. That is truly primitive. 14)Me ilim The beard in froet-view in a face in profile ap pears still, slightly mitigated, in works of the first л. ìm Oc historical period of ^ merV^timö of Mesilim of Akkad, see the. /j^ale heads below. 15) But T know only uf one more primitive method: on the stor age pottery ßrorc Persepolis, animal heads, in profile, 7" "" 9 Hitt. 15 - § like tne bull above, right,- show botK eyes on one side: / that is the way children draw. lü) statue. The statue of the Jabalat al-baida was also a pale-shaped stone of basalt, the upper part of which ß. alone was shaped into the likeness of a |od. He holds a mace and a cup, but his helpless hands don grasp: Г. (S the idea of a hand.but velli without action. Seen from - large the side, the^shoulder is flat, the lateral surface of It was a born-) the block. JEXÌHE/ sculptor who projected the picture he had in mind into the raw block before him. These artis'^ - ts7conceived their figures in _& _ round corporeality. Though still near the beginning, this statue marks a step forward compared wite the stelae. The head is lost: the monuments wer?never buried, but st0B.±-_*g rsince eternity .The broad beard has a part ing in the middle, a treatment revealing the naive joy in details where higher aims are still unattainable. vbeard The same J occurs among asphalt plastic works from Triam, Jamdat-Hasr period. 17) Sumer« male statue, Tìie gem. en is not changed, only mMelled with more detail, less delicate as in this example of a vumerian T* Hitt, 14 - 1 foot high, of the Urnanshe-period, ab. 2900 B.C.- w The comparison illuminates one fundamental distinction: the Sumerian statuettes were all tiny votive-figures vjaarrow put into thcT^anctissimum of a temple, the Mesopotamian. colossi are monuments greeted on hill-tops, meant to be seen from far. They are works of great sculp titre, a 4b thing unknown to Sumer. $fc#* statue belongs to the pre historic JamdatNasr-period, last quarter of the 4th m- nLllennium, and the stelae are older. 18) Assyrian statue The conception of the ?р_жа± pale-shaped statues, never found in turner, hasQbeen accepted by Assyrian art. This is an archaic example from the beginning of the 2- nd millennium. And this type, not a descendant of the Sumero-Baby Ionian dwarfs, is thctprototype of the^atw - / Joung-Assyrian royal statues W A- f *^ t&*~t-t^***+i.. 19) Puzur-Ätar In Babylon, over 30 years ago, 5 life-size basalt - statues have been discovered, but never adequately pub lished because their importance was not realized. Of S of them, only the pale-shaped lower parts are preser ved, but one is ел "иге, with head; body in RfixConstant inopel, head in Berlin, Thèsstatue^ хкк dated by àn — Hitt. 15 - *fc*rr p^^^bêtWT 2318 and 2205. or 120 earlier inscription/: Puzur-Istar, prince of "Mari, a place of oleest historical memories on the middle Euphrates, a region where Sumerian and Hittite influences overlap/ Details like the robes , headdress, à^eàture of hands, are 5umerian. But the whole statue is thoroughly non- Smmerian, »АГ is the treatment of beard and hair - I beg you to retain in your mind the strange spiral curl*** of the beard T in which something still survives of th/ beards of the Jab.al-baida statue. 20)UrNingirsu. -u*ybMht -inexactly To meferiifcre the difference, I show here щ. contem porary Sumerian work, a priest, from a private Paris p collection. Tt is the usual, but this time degenerate dwarflittle more than 1 foot high, and almost of equal •*^ - 4+ * @! бсб'сгыЛ fo /Юге-*-*** /fr ле^ч л*А — . breadth. The Mari statues and this one jare separated b a world. 21)Mari-head. The head confirms that. The cap is Sumerian. But no-»- thing is more apt to dissemination than dress.. The Ita lian Renaissance is not Greek art when it reprdoces Greek dress, nor :ks- -fe .<. statu-... r.£. г-е_ва1~1пг13_н* XY^T jar^-t, in ^ernst. - '-ngli rh, П9г are the Рогез а__., Ш %% 4* 1 $№ ^opeans in their newly adop 7" Hitt. 16. And yet; w th all who deal with old-Oriental atcha-olo— UM art, represented e.g. by this head of a colossal Hadad the weather-god, from K'xrkhemis%, not an . ingle example. Most people believe such a head to represent the art e. of ehe 9th century. The Mari-head is dated, 22nd centu— ту. One must but look, at it, to recognize tne relation. Pverji detail is there, but in a more archaic shape, than at Mari. The great importance of the Mari-stat^u- es is: they/each us what had become of old-Mesopotami— an art shortly before the end of the 3rd millennium. Just as Jabalat al-baida marks the terminus post quern, the Mari statues mark the terminus ante qjiem. £»d the task is to establish the relative chronol&gy of the countless works and to insert theysystem nf mtrrntin into the fraine furni/shed by J. al-baidâ', last quarter of the 4th, and Mari, last of the 3rd millennium. 23)T.H. goddess TkM • , A . y* **.*j- /^ к^>. & / . *-< <у~с*л&>, That this old art could achieve is shown by this goA _оп the throne . dess-/of T.Halaf. Seat and lower p*rt/f the figure are an almost perfect cube. The greatest abstraction, but T Hett. 17 •voider which has a parallel in theYpale-shaped statues. The artisifs attention is concentrated upon shoulders and head. And the head with its long neck, chin raised, th free pair of curls, the expression of beatitude in the smiling mouth is beautiful; but one ought <% atee, agai*, and again^the original. 24)side The side-view shows the hand with the cup, we know/t- y&«^fran the J. al-baida statue; Ы etìie engravings oris cha rt, ш. ОТ**Ь-Ш4ИА. ir and^ims of the garment: (contradicts in a way the abbridged,allusive treatment of the essential parti, ^sarne Wb observed the y'recherche du detail" already on the - prehistoric statue. 25)head It is an impressive head; the ears, shaped like a Bretzel have heir counterpart in old --umerian plastic art of the Earliest historic times. So the open hair and. the two hugr curls or pigtails that fall from the empies.LE er, since Fntemena, ab. 2750, most elaborate coiffures replace that simple fashion. Remark the eng raved spirals of the hair, for which the Hadad-head of Karkhemish introduced the modelled, plastic spirals, and which lead to the permanent waves and strange spir als of the Mari-statues. to * •""" Hitt. 18 - 26) design: This design compares the heads of our goddess and . that of a man cai ed KurLil, *£ a squatting figure in basala found at Ubaid, in •"tuner. Tt belongs to the Ur- nanshe period, ab, 2900. Just forget the coiffure of the goddess: it is almost the same had; strangely evwa. the curve of the skull is the same, and the profile of nose, muth and w£ the raised chin. Especially they have a curious way in common, a kind of grove, from no. se to chin, in which the smiling mouth, is set, produci- ng a r«p^/contour of the cheeks. 2V)KutLil. This last feature becomes clearer in another view of KurLil, The expression of aat&bfaet_ en, or generali of a sentiment, in Äimerian art, begins with UrNan- 2 she, reaches its full development 100 years later with Fntemena, becomesa)frozen grimace in the following period of Lugalanda, and disappears once for all from Sumero-BabyIonian art. In Hittite art it lives on, or reappears in the 2nd millennium in AsiaMinor, and it is well knoen in Greek art of the 6th century. - The goddess of TellHaiaf is contemporary with К rLil or a little later, corresponding to the ^annatum-period in Hitt. 19 - Sumer, ab, 2850 B«C- 28) veiled sphinx. No great distance can separate the goddess from the veiled sphinx of T,Halaf,/vei_ed on account of the fri-» nge of the veil on her breast. Face, ears, the Hittite spiral curls from the temples, continue the old line. The legs, abstract as those of a chair, remind us of .. - v nged, not to the good. The sphinx has been called aloan from Fgypt. The Egyp tian sphinxes, lions with the king's head, are a symbol ic expression of royal power, they slay an enemy or sit ref.ving on their hi d-legs./Neither symbolism, nor function - as guardians *_£ the doors - -•-, nor attitude . nope types are identical,/At the side of the sphinx уол. see here a scorpion-man in/same function. Hybrid animal- Is exist all over the world, and cannot be traced back ~h> a common.Egyptian origin, in early Hittite art, there is no end to their varieties, every combination ц is posbiole, the types are not yet fixed by convention , Only by and by a reduction - never to a small number - sets in. A young dating of these hybrid animals'woul<£ i Hi . 20 - mean: a small number at the beginning, an illimited —* later, and contemporary with a restricted number of di fferent style. No single hybrid form can be separated from the original wealth of forms: the female sphifipc X is as autochthonous as the 100 ottier^w^ш^W ггч VvJ dctfrjamb-orthostat, which supported the wall above. Thc architectural necessity dominates the form. The cubic lower part of the goddess ]___n_ô}reveaJ_l_WeT. en in a free statuejthe architectural constraint of this art. 50) Oyük. The sphinges as guardians of the porch reappear in Oyük, AsiaMinor, ab. 2000 or in the early 2nd millenni- • . Shapeless round bodies replace the cubic forms of T.Halaf, and the side-view hasss been dropped altogether just as in similar lions at boghazköi. Instead, a doub le-headed eagle, wity. rabbits in its claws, is preserved on which stood the figure of a god. The double-eagle is the d&t-of-arms of the town. Such ca__tt of-arms, ar Ì Sumerian, called "town-birds", but there actual use is confined to the pre-Sargonicperiod, between 5000 and 2$0O B.C.- Only atTthat remote period the symbol can have been transferred to AsiaMinor, and the # HittA 21 - 4S**-A*6Ì double-eagle of Oyük must have had a long ancestry in Asia--*-inor. Later it became the coat-of-arms of Byzan- лг-[ТтЛ ..ff îhe> Rnrnfiri iKmpiiiei пГ Hi i in iii"jifTrt4-fm|- ir-w Austria.^ The sphinxes wear a necklace, a remainder of the old ^. er fringes of the veil. The head-dress amalgamates the Hittite spiral curl with the[Egyptian jhathoric head- dressyof thelsphinxes. This detail comes from Egypt, but is sufficiently explained by the existence, long before, of the great sphinx of S|zeh, certainly always an object of greatest admiration. 51)Boghazköi-head: After the middle of the 2nd millennium guardian- we find the female^sphinxes once more in ßoghazköi. I can only show the head, which is badly ptrton ^ body injthe tonst, /4-useum. On the beutiful face lingers still a reflex of the smile of the T.Halaf-goddess. Here, Hi ttite art returns to the true Hittite curls, abandoning the Hathoric head-dress, which was an interlude. The chronological order is: T.Halaf, Oyük, Boghazköi, The usual dating: first Boghazköi, last T.H%La£, with Oyük undefined-T^pîrtîrjthe most mature example, which is no beginning, at the beginning, and, nnftv ahow о regard f ~ H. J , — for the natural growth of things. Karkhemish«. 52) We have used the expression/? architectural function сenstraint.character,BLU as a specific property of uitt— / U between the art of Sumer-Babylonia and of Assyria. A.ss — jrian civilisation, like the language, is bw? a variety of Babylonian, but with exception of Assyrian art. Forç Babylonian art is purely »-»umerian, -not Ak4_adien-e rairtig- whereas Assyrian art is the product of two factors: "umerlan tradition and Hesopotamian, oJb "ubaraean, or as I call it, Hittite art.- Architectural sculpture, S* like orthostats, door-posts in shape of colossal guardia — Ыи'Лк. +ели, - /4-9 ** -7 l*ri Ufa /** **- ? *?*?***-•%. у ~^ *~ « Д^Ь. "* ans, cóluinhs~on bases or animals"} are hittite in essen ce, and products of the same spirit that created alrea dy - the t,Hn1&r ^atfgrjtfij?j[$s sal 3tatues ma the cubic god- д-ejV ч W^* Д-лХ. \A M * /vv Hitt. 2o - dess. The architectural character may be older than th actual use of sculpture in architecture. 35) Т.Н. Arher: щ<А%^ Л ^ I choose>3^mm id: example £ of the oldesTclassv from T.Halaf: an archeé. As long as Hittite art lived, the block of the orthostat remains an artistic unit. J.11 the principles of design were developed by that mate rial substratum, the shape of the block^of stone. The Ш^Мс principles of ^merian. art originated in a totally di fferent sphere; in glyptics, seals, hence the & . ee »erf endless report^ strict symmetry, antithesis, equ al height of heads €&&& fffotsr^bcyrUç t Our archer therefore must fill the block. He does it by a lively movement, much more so than e.g. the prehistoric archer of theAbasl_£t block from TJr, we saw. Both do not presuppose schooling^òr long tradition. Tt is an uneonditioneu, fresh art, in shape and in intrinsic properties: just an archer, proud that he can shoot. E Pven the quarry - man or animal - is missing and unne - cessary. There is no "composition"» the picture is self . contained. There are ^ sv.cn figures and small genre-like scenes of naive daily life. 4 sjbwSvt Y^nhf\ (hid™-*. ^ a 54)H;:reIs\a stag rampant, with a more than abstract, ^————^—— ___ч™ Hitt. 24 - symbol only of a tree in thl back, ihe &^ pe ?ar£i|aj is- in crossed diagonals, under the coercion of space. It has been said that such esanimai was but the de cadent remainder of an antithetic composition,hence proved that art to be decadent. Nothing can be more erroneous. In Sumer, already during the prehistoric pe riod the single animal, rampant, is a type in its own right. Tt -шщ be used in antithesis, and we are free/to AwVt / assume such a grouping in T. Halaf, a» there are many corresponding pieces and besidesjp-*r?§. slabs with noth ing but a tree.WJuО o^-vc / t the assumptioIfoArn is_^b:rtrâry> And — decadent art^Kas lost its life,/iif e, <4ss full of rigid types no longer productiveand changing. Here we have uniimi — ted variety, nowhere repetition. -55) syroplegma. fftg power and originality finds strongest ex pression in the animal fights, or symplegmata, her of a lion and bull. '%e lion is victor. The composition is not pressed into any geometric patterììY as we shall soon'aêÇeîn »burner, but only determined by thelblock. It is full of incomparable vitality. ^ö) symplegma. 0* take this piece, where the bull is victorio T i \ / УИг%>и/1 ^x" Hitt. 25 - us; standing on his hind-legs he has gored the lion, which stretches and turns his head furiously but vain- fr\ 4uch 'forks of unequalled impetus and life k__xs «зге. called dead backwater, degenerate provincial imitation of young-Assyrian аг^и____У^^и^ги A/ « -- . /-ЫиАо Ъ1 j/Game-board, ф*з we compare>1 he inlay of a --umerian game- vu^gV *&*&***< bard, 1st dyn. of TJr, about 280 б7в.С. : the symplegmata ef tbfi. 2 elements appear in 2 stereotyped patterns:/without center, in triangular composition, or . 3 elements in strict ant ithesis, the attacking àions right and left, the atta cked animal almost vertical uoright or upside down in the center. A typical a£_t savant, of long learning. 38)NinTurNiS_ie period of invention is l«ii!gcpast, it was the pre historic period as represented by the glyptics of Fara. The subject is intimately connected with the cercle of Gilgamesh-pictures. At the time of the 2nd dynasty of Ur, ab. 2750 it has assumed a dense grouping of mostly 5 elements, with a geometric pattern typical for the p period, if not strictly symmetrical, at any rate in pe rfect equilibrium. 30)Lugalanda: Follows the period of Lugalanda, where the number о » Hitt. 26 - of members is increased, forming what has been called a "Figurenband", a ribbon of figures, often conceived as endless in the repeated impression of the cylinder- seal. The figures are strongly rampant, almost vertical У & , inopi tu ё^АШе illusion of a violent movement, thenar e rigid, all participants are grinning, absolut ely unconcerned. Yi0) Sargonic : During the Sargonic period, ab. 2700 B.C., the ribb-* bon dissolves itself into a series of single combats, see below, and - only in the time of Sargon himself, »- not of his successors - see above - the old Sumerian symbolic gesture became replaced by true and most viol ent action. The technique has reached the highest ,.er_r- not maintained nor / ^ ection, n x____xreached again in later periods, s.mrtty, a Hiatu e art at its culmination, and entirely sophisti- •»- cated. ф$)round-stone Br ,11. There is but one monument outside of seals that sho ws the symplegmata on a larger scale. The figures, badly damaged are almost 1 foot high. The effect comes near to the orthostats of T. Halaf• but th#* Sargonic p piece^s the result of many centuries of tradition. In Hi . 27) j any anterior staged. 42) sound-box. All this applies to and becomes illustrated by the inlaid design on a famous sound-box of a lyre from Ur,vist dyn,, ab, 2800 В,С,- Above the fighting Gilgamesh, be. _bw in 3 registers animals acting like mentwh_r _ryle .-je4r.rr* 1 nf -jjc-tba-fe-iof North firn jgum^yy *n 4 of Ur, and яй Ше ele- £ fêç uaì^-ft-? and .foreign, . , tâàftih men^s saae тгн я 1 ^— the half-huyan animals ^^^ M à Me 45) In TellHalaf the subject looks like that: a music band ^ of animals, evidently an old fairy-tale. Instead of the registers with the^H* strict rhythmical arrangement and lateral and vertical correspondance, the figures a are strewn on the background in the old prehistoric sryìfo. the spirit is not onlylivelyjfbut full of can- (result by grotesk humour; such things ÄKH not^degeneratèon out Ô- r <*\ Ä\. oc*rh^y*^ ! in of the hypersophisticated -^umerlan art^ the pumerian example the original Hittite theme has been subjected to the strict rules of that art. The 4Ш_£_ £е is the or iginal, and older than 2800 B.C.- 7* Pitt. 28) 44) T.H4£acade: Tt irauld be easier to hold a course of lec tures of two searaters, than ia a single lecture on the •'problems of hittite art". My aim was to give an examp- pie of the method, а^ш_^_£е цэ4№Ж.»^ Recul tat" Ь о wever unexpected th^'tfeTout I should not if like to finish without having shown фИе amazing monu- -£1й ЩА ment\this old Hittite, Subaraean art produce- сеёТd лл Iт-t look.. __шр£ак&_ 1- ;, and there are reasons for it. This facade of the temple of the 12th century is not a free creati on, but was inspired by existing materials of various, much older age. The animal bases belong to the seconâ sty :e of T.Halaf, which I put still into pre-Sargonic time. These animals supported ~•• • •*-• *r »• --} jj—V[q ^osIT^^FareT^Wò o"0^r''coÌ!mns p fore the cubes on their back are of the same block. The statues^re\cult sta tues of gods, (НгДиД-ЬДТОу worshipped in the cella ofi a temple^ »*v_ not,- servç_g pPoTanelyj as supporters of. nnUi-wgiy***"""'*16"- [an architrave. Thejfr^ bases have been made fitteag the cubes oft the animalsA^mì. the huge cylinders on their heads, the height of which is not beyond^doub • were added, to receive the beamsiand to make theÄ4^** Pitt. 29) ffîf nt. ' ffiir&?'-^_f-/p.eri nd wiri ( d sw ovory f< si4ng for their sanctity^. a»4 Jbhey are much older than 1200; from their style and ftp ее- tfatr~T relative 0*1 among sculptures, I е-ь- a^Tdia_5 them as works of the period of the Ord dyn. of Ur, the empire ofprumer and Akkad, 4 _ 1__1 _» ? B.C., just a&jjfe-ior to the statues of the princes of Mari, whicìi^tne final terminus for the entire development of this old, eastern branch of fri ti te art. —