COMPETITIVE STRATEGY MODEL AND ITS IMPACT ON MICRO BUSINESS UNITOF LOCAL DEVELOPMENT BANKSIN JAWA PJAEE, 17 (7) (2020)
The Concept of Authority in Ancient Iraqi Art: Assyria as a Model
Al-Zahraa Hassan Omran1, Ali Hassein Al_khafagi2 1University of Babylon - College of Fine Arts 2University of Babylon - College of Fine Arts [email protected]
Al-Zahraa Hassan Omran, Ali Hassein Al_khafagi.The Concept of Authority in Ancient Iraqi Art: Assyria as a Model-- Palarch’s Journal Of Archaeology Of Egypt/Egyptology 17(7), 3651-3661. ISSN 1567-214x
Keywords: Micro Business Unit, Competitive Strategy, Performance
ABSTRACT The current research consisted of four chapters that included the first chapter, of which the methodological framework for the research and the definition of the research problem, which was summarized by the question" Is there an impact of the concept of authority on ancient Iraqi art?" It also included the importance and need for research. The research goal is represented in knowing the concept of authority in ancient Iraqi art. The limits of the research were limited to dealing with the concept of authority in the Assyrian era in the time period between 1392 BC - 934 BC. While the second chapter (the theoretical framework) included representations of authority in ancient Iraqi art in all its eras and the data of those eras and their effects on the Assyrian society.As well as the indicators reached by the theoretical framework and previous studies. As for the third chapter (research procedures), it includesdemonstrating the concept of authority through the nature of power prevailing among the Assyrians with such scenes; and the artist was influenced by the structures of time and place and the extent of the spatial occupations of the place and has a relationship with the concept of the sovereignty of the image in terms of the king and the goddess.The study concluded that the ancient Iraqi artist searches for the truth of things despite the authority imposed on him and searches for the truth of art by glorifying the king and the gods, and the Assyrian artist must be aware of the dominance of the strong discourse of power.
RESEARCH METHODOLOGY 1. 1 The Research Problem Throughout history, power has dominated human thought through the existence of cosmic phenomena such as earthquakes, volcanoes, rain, thunderbolts and lightning, where primitive man has remained in the face of cosmic power, and authority has recorded a presence in the ancient Iraqi civilizations and the myths and epics it produced, as well as in the authority of the body in the Epic of Gilgamesh. Iraq, known in classical antiquity,
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Mesopotamia was home to the oldest civilizations in the world. Its civilization history extends for more than 10,000 years, and its most famous civilizations are the civilizations of Sumer, Akkad, Babylon, Assyria, and Chaldeans. Artistic activity is as old as mankind, as the primitive man used to express himself through the arts. Power affected all aspects of political, social, cultural and religious life, as well as art. As the authority means the will of one party over the will of another, as the authority is based only on subordination, where the authority was the strongest influence on the artist to have the effect of the artwork conveyed, which will convey the image of the reality of the Assyrian community, that the conflict between the forces that dispersed the fate of people is nothing but an expression of the courage to which he aspires. Society and we find the recurrence of these conflicts in large areas of the relics of Assyrian art in the cylindrical seals and prominent stone tablets, Assyrian formulated in the form of documentation of the activities of the kings, the power of the king is only a reflection of the aspirations of the people and his ambition as a social symbol. In light of what has been mentioned, the research problem has been identified with the following question:Does the concept of authority have an effect on ancient Iraqi art?
1. 2 The Importance of Research This study provides an understanding of the concept of authority and its influential connotation. 1. 3 Research Goal The research aims at understanding the concept of authority in ancient Iraqi art. 1. 4 Research Limits Ii is limited to study the concept of authority in ancient Iraqi art, particularly, Assyria as a model in the area between 1392 BC to 934 BC in the ancient civilization of Iraq, the Assyrian era. 1. 5 Defining the Terms The authority in the Qur’an came in the verses "that my servants do not have authority over them over those who follow you from the tempters" Surah (Al- Hijr-42) and "But God directs his messengers over whom He wills, and God is Almighty over everything" Surah (Al-Hashr-6).Linguistically, authority is the authority, the proof, the proof, and the power related to worldly matters. As a government, officials in the state are a political force to which the citizen is subject.The French Raymond Aaron knew it: Authority is the ability to act or measure, and this concept takes its true dimension when individuals exercise their authority over others. Dr. Ahmad Zaki Badawi defines authority as the natural force or the legal right to act and issue orders in a specific society. This is linked to power with a social position that society members accept as legitimate and then submit to his directives, orders and decisions.
The procedural definition of authority is the power, influence, and the ability to make decisions that govern the life and fate of others, individuals or societies, and the effects of this influence appear in the form of representations or manifestations of artistic productions in the Assyrian civilization.
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THEORETICAL FRAMEWORK AND PREVIOUS STUDIES 2. 1 The Concept of Authority in Ancient Iraqi Art It originated in ancient Iraq and in the era of city-states that were separate small cities, each of which organized its own life and social affairs with a simple system and special norms that existed within the city limits. The Supreme and the so-called Sumerian (where) meaning (the master) is the first figure in that religious government, and he used to combine two authorities, the religious authority as the supreme priest who exercises his priestly role in conducting periodic religious rituals inside the temple and during holidays and official occasions, and at the same time he presides over the authority to administer events Life within the boundaries of his city and the organization of the life of its inhabitants, and Sumerian artists depicted priests in devotional situations that symbolized their religious and spiritual status (1)
Figure 1(: A Sumerian priest statue, from the Louvre collection, on display in the UAE.
In the midst of their struggle with nature, the Sumerians and Akkadians developed their productive forces and created large agricultural and industrial wealth resources, until they developed new production relations for material interests that laid the foundation of civilization. The human ability to bear it, but it generated another type of conflict, such as preserving and protecting crops, sharing water, and the threat of external aggression that the wealthy lands of Iraq are exposed to (2). This lifestyle based on agriculture and herding of livestock appears clear in the products of ancient Iraqi arts, where ancient artists depicted the marsh areas in southern Iraq, and herds of cattle and huts built from papyrus reeds appeared in the prints of old cylindrical seals (3).
Figure2: Reed huts and cattle prints in seals
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The emergence of this society in Iraq, the ancient society suffered from the problems of class conflict and the exploitation of man by man. In the ancient society, two classes were confronted: the dynastic feudalism that owned the agricultural lands, which was the keeper of the tribal dynastic system, and the class of defeated foreigners who found themselves in the position of loyalists and slaves whose ranks were constantly increasing with prisoners and intruders whose connections were interrupted (4).The concept of authority in society was one of the invention of the human mind that tries to regulate the conditions of society and ensure the rights of people and not to attack and spread injustice and chaos in the first human societies that created the first human civilizations, and in every time and place there must be an authority capable of imposing laws that regulate people's lives and guarantee their lives their rights and property, and in order to ensure the people's submission to this authority, the old Iraqi mentality invented the idea of authority in favor of divine right, which is rumored to take its legitimacy and right to rule directly from its affiliation to the ancient gods. So the king in the eyes of the people was the son of the gods or authorized by them to rule the country and control the fate of people (5). Kings are often depicted in fictional situations such as the struggle with predatory beasts, which are imaginary images inspired by myths such as the legend of Gilgamesh (6).
Figure 3: Gilgamesh wrestling with the lions
With the development of life and the multiplicity and ramification of the supreme priest's worldly responsibilities, it became difficult for him to abide by his duties, so a kind of separation occurred between his religious and political and administrative authorities within 2800 BC, so other priests took his place to carry out his religious duties, so that he devoted more time to the task of running the city and taking care of the affairs of Its inhabitants, but it still retained its supreme priestly capacity in religious celebrations, especially the feasts of the Sunnah, and this new character was called Sumerian (Ainsi), meaning (the Prince) in addition to the religious authority of the temple and the ruling prince. The first of its kind in history was that each city was administered by two chambers, the first comprising the sheikhs and the elderly (the wise men), and the second included the men who were able to carry
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weapons (the youth). That is, they represented the two most important elements in society (experience and strength) (7). Religious ideas and beliefs had the greatest impact on consolidating the authority of the king, the temple and the state in ancient Iraq. Religious ideas also affected developments in the religious, political and social situations in general.
Indeed, the political authority was its first and biggest task to spread religious teachings in ancient Iraq and to ensure that the people implement the ideas and rituals of the temples In the first place, and through these ideas and rituals, many regulations, laws, and penalties stipulated socially or officially were invented, and because the city, including it, was considered the property of the king who is the embodiment of the authority of the city god in it, and he is the one who works to establish the authority of God in it and consolidates its pillars and is keen on Not to be overlooked by anyone. The king in ancient Iraq was at the head of power, as his executive and legislative authority was directly derived from the gods to rule the country (8).
Figure 4: King Hammurabi stands reverently before the god
In Babylon, the royal authority was supported by the temple and the gods as well, and the laws enacted by Hammurabi were sacred laws. Sharia and custom stipulate that the king received them directly from the god and spread them to the people and thus they are sacred laws that cannot be violated or even discussed, and they are implemented with great precision and care. By the king, the army, the temple and his priests scattered in the city, and these laws are framed by harsh provisions and legislation that stipulate strong penalties that are implemented in the manner of imposition, coercion and severity in order to ensure their implementation to organize the structure of society and the progress of justice in it and the stability of the country and protect people's property from tampering and chaos )9(. The concept of individual and public obedience was an important concept in social life in Babylon and the rest of its kingdom, and it is a concept based on a person's desire for a secure and peaceful life, and whoever violates this concept exposes him to the most punishments.
Folk celebrations are also held at the coronation of any king in a public presence. Thus, the people recognize the existence of the legitimate authority, and all people are obligated to submit to it and implement its will in war and peace, in personal or clan disputes, and even in family and marital disputes (10). On the other hand, the king is subject to some directives and conditions
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that the clergy put on him personally, as he is constantly monitored by the temple authority that monitors his actions and his actions. The king is not allowed to spend money on his personal pleasures or his entourage and women. Rather, he is obliged to provide clear justifications for the money that he spends as well. The royal palace is subject to supervision by the clergy to ensure that there are no extravagances, transgressions, or acts that violate religious laws and norms, and in the event of such transgressions, the king is deprived of the support and blessing of the temple and the god who abandons the king and leaves him and may remove his sanctity and isolate where the temple is located By installing another king in his place (11). The many cuneiform texts from different civilizational eras in ancient Iraq indicated that the gods did not create human beings except to serve them and to supervise their properties on the earth, so they chose one of them (the king) to be their representative and representative in leading the people, so that the signs of prejudice to him were handed over to him except by the gods themselves and thus all orders The legislations that he promulgates are only inspired by the gods, so they are obligatory to implement. This shift in power and the combination of the two powers together helped the kings remain in their rule for long periods of time, but despite the aura of sanctity and veneration that ancient Iraqi beliefs added to the person of the king.
The kings of Mesopotamia did not reach the level of deification, as is the case with the Pharaohs of the Nile Valley, as the king remained a human being who lives an unforgettable human life and practices his religious rituals as a normal person. Royal texts also mention the religious actions that the king undertakes to gain the pleasure of the gods, as well as the sculptures and obelisks they carry on Their heads are the baskets of construction, indicating their participation in building temples and religious buildings, or they appear in others standing in the form of reverence before the gods, offering them offerings (12). The Babylonian artists were depicted the deity is larger than the king, and he appears in the form of a living human standing in majesty and delivering royal emblems to the king, who receives them reverently (13).
2. 2 The Indicators of the Second Topic 1. The concept of authority was an invention of the human mind to regulate the conditions of society, guarantee the rights of people and prevent aggression and chaos in societies. 2. With the development of life and the multiplicity of the responsibilities of the High Priest, a separation occurred between his religious and political authority, so other priests took his place to devote him to administering the city, but he continued to retain his priestly capacity. 3. Religious ideas influenced developments in religious and political situations. Indeed, the political authority was concerned with spreading religious teachings in ancient Iraq and ensuring that the people implement the ideas and rituals of the temples in the first place.
2. 3 Previous Studies 1. The Rules of the Subjects of Sulta Art Executing the Pottery of Ancient Iraq, Ali Jarad Al-Hamiri, University of Babylon.
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2. Authority and its representations in contemporary Iraqi painting, Firas Muhammad al-Khaikani, University of Babylon.
RESEARCH PROCEDURES 3. 1 Research Sample The researcher tested the research sample of (3) artworks in an intentional way according to the following justifications: A. The emergence of a concept related to the study. B. Approval of documented works.
3. 2 Research Methodology The researcher followed the descriptive and analytical approach in the research.
3. 3 Samples Analysis Sample Form (1( Name of the painting: - An obelisk that embodied the victory of King Shalmaneser III Date: - 824-858 BC The technique: - Relief carving on a black diorite stone. Source: The British Museum. Royal obelisks in ancient Iraq, a historical-art study by Dr. Hala Al-Rawi, unpublished MA Thesis, University of Mosul, Faculty of Arts, 2003. Description: A scene representing the symbol of the gods in the upper middle and on the left shows the king carrying a sword in his left hand and his uniforms and behind him two people from the first servants carrying something like an ax and the body of the king of Israel as he kneels to King Shalmaneser III. Analysis: The concept of authority appears clearly through the encounter between people and the significance of the person kneeling to the king in the group on the right hand side of the recipient, which is his referral of worship to the special bowing to the goddess - kings. It was considered a constraint that must be adhered to according to what was in circulation at the time, for the movement of people and the nature of their standing and the person sitting on the kneel suggests an expressive state through which the old Iraqi artist invests in summoning a devotional social position. The king-gods) are embodied here through a visual formation that was not available in this way before. Art with Assyria took a somewhat different dimension at the level of social, religious and political research. The power of the king politically influenced the nature of intellectual and economic life, because governance depends on the authority of the ruler.
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Sample No. (2( Name of the board: - Operation of catching lions The technique: - relief carving on limestone Date: - the seventh century Source: The British Museum. www.alkaleej.ae Description: A mural from the Assyrian Palace in Nineveh that represents his confrontation with the lion of King Banipal while he wears war clothes and places his left hand on the neck of the lion and the right hand carries a sword planted in the belly of the lion, and the lion appears in a state of standing as if he is crying out in pain while he is screaming with his head with a spear behind the king One of his guards carries a bow and arrow and the king in this scene as if he was roaming with his escorts from the guards for hiking or hunting. Analysis: A sculptural work that expresses the nature of the prevailing conflict, as a visual scene that is repeated in Assyrian art, and here is a struggle between Assyrian Banipal while he hunts a lion, and the effectiveness of the scene is more evident in the significance of the main character of the hero while he is in a clear state of control (the visual dominance of the imaginary and intellectual structures of Ashurbanipal). The present act of the concept of (authority) is more appropriate for the action of narration and the elements of its operation. The event here confirms the nature of (power - authority) and the most popular idea, it shows the concept of power prevailing among the Assyrians in terms of the character of the king in scenes of war, hunting and conflict. Hence, the real motives in the narrative event were also influenced by the effectiveness of other elements of the narration through my structures (time-space) as well as the characters. The supremacy of the (image) of the goddess - the king, thus strengthening the concept of (authority) and occupying the iconic significance of the image of the king, for expressive data that exploit the energy of the expressive action and the state of conflict existing here in this image between the king and the lion in terms of the power shown by the Assyrian sculptor.
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Sample Form No. (3)
Name of the painting: Obelisk Hunting Lions Date: - 645-635 BC Technique: Relief carving on solid black basalt stone Dimensions: 80 cm high Source: The palace of Ashurbanipal in northern Iraq, in Nineveh. alfnonalgamela.com. Description: A scene depicting the hunting of lions, where the king appears on the right side of the mural on the Assyrian chariot being pulled by two horses and the king here carries arrows in a firing position, and on the left side they show the soldiers carrying shields like shields used to confuse the lions through their paths one with the other to facilitate control on them and their escape towards the king to hunt them, and the lion is depicted as one in the middle, wounded in his head and neck, while he is in an attack on the king who ended in failure and the second is thrown on the ground under the feet of horses. Analysis: The scene contains the pattern of repetition of the scene of the conflict between the human being represented by the king (i.e. by the human power) with the lion (the animal power), so the king appears here and is the main source in the conflict as it differs in size and is larger than the soldiers in front of it and also the difference in the tool of the struggle with the animal is the tool Used here is the bow and arrow that power is (the struggle between two powers) refers us to confirming the king’s authority over the power of animal creatures with the help of other people represented by soldiers. The ruling authority overcomes the fiercest animal creatures. It is a kind of discourse of the dominant power and the absolute power of the king. As for amplification, it is a huge king to emphasize the strength and speed of the tool used, as arrows have the fastest effect in wrestling with the largest number of lions, and this is shown by the number
RESULTS AND CONCLUSIONS 4. 1 Research Results After analyzing the research sample and achieving the aim of the research, the researcher reached the following results: 1. The concept of authority is distinguished by the old Iraqi artist taking an operational dimension of the movement of the elements and the personality.
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2. The aesthetic dimension carries a discursive social content, and authority shows the relationship between man and king. 3. Authority is a constraint that must be adhered to at the time for utilitarian purposes 4. .The king’s authority establishes a religious authority and thus affects the nature of intellectual and social life. 5. Demonstrating the concept of authority through the nature of power prevailing among the Assyrians with such scenes 6. .The artist was influenced by the structures of time and place and the extent of the spatial occupations of the place and has a relationship to the concept of the sovereignty of the image in terms of the king and the goddess. 7. Objects are devoted to the ruling power that possesses the discourse that dominates the structure of the figurative text. 8. Power does not only affect the political, social and cultural aspect, but the king’s authority conquers the fiercest animal creatures. 9. Exaggeration and exaggeration of the size of the king being a symbolic thing for fear and obedience to the forces controlling the power of the state.
4. 2 Conclusions 1. The ancient Iraqi artist searches for the truth of things despite the authority imposed on him and searches for the truth of art through glorifying the king and the gods. 2. The Assyrian artist must be aware of the dominance of the powerful discourse. 3. The old Iraqi artist has a structure, but in a religious, political, and social context, at the expense of other structures that he cast outside the circle of attention. 4. The old Iraqi artist, his production of works, is related to the amount of support provided by the controlling forces, as he cannot meet himself on the work because he is a warrior and is inconsistent with the forces' benefit, meaning that he is subject to ostracism and blocking under other visions that have support and media of injured lions in the sculptural mural.
REFERENCES Al-Taan Abdul-Ridha: Political Thought in Ancient Iraq, Dar Al-Rasheed, Baghdad, 1981, p. 54. Kramer, S, N: From the Tablets of Sumer: Tr: Taha Baqer, Al-Muthanna Library, Baghdad, p. 27. Barrow Andre: Sumer Arts and Civilization, translated by Issa Salman and others, Times Printing and Publishing, London, 1989 p.57. Belavsky AF: Asrar Pyle, translated by Rauf Musa Jaafar, Dar Al-Mamoun, Baghdad, 2008 p.9. Andre Barrow: Sumer Its Arts and Civilization, translated by Issa Salman and Other, Times Printing and Publishing, London, 1989 p.66. Mortkat Anton: Art in Ancient Iraq, translated by Issa Salman and Salim Taha, Part 1, Ministry of Information, Al-Adeeb Press, Baghdad, 1975, p.57. Judy Muhammad Hussein, History of Ancient Iraqi Art, Part 1. The National Library, Baghdad, 1974. p. 19. Sousa Ahmed: A History of the Mesopotamian Civilization, Part 2, Freedom House, Baghdad, 1983 p.75.
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Susa Ahmed: History of the Mesopotamian Civilization, Part 2, the previous source, pp. 77-78. Rashid Abd al-Wahhab Hamid: Civilization of Wadi al-Rafidain, Dar Al- Mada, Syria, 1st Edition, Damascus, 2004. p. 60. Rashid Abdel-Wahab Hamid: Previous source, page 63. Al-Taan Abd al-Ridha: Political Thought in Ancient Iraq, the previous source, page 82. Anton's Mortakat: the previous source, Part 2, p. 40.
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