Chapter 2—Ancient Mesopotamia and Persia
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Art 258: Ancient and Medieval Art Spring 2016 Sched#20203
Art 258: Ancient and Medieval Art Spring 2016 Sched#20203 Dr. Woods: Office: Art 559; e-mail: [email protected] Office Hours: Monday and Friday 8:00-8:50 am Course Time and Location: MWF 10:00 – 10:50 HH221 Course Overview Art 258 is an introduction to western art from the earliest cave paintings through the age of Gothic Cathedrals. Sculpture, painting, architecture and crafts will be analyzed from an interdisciplinary perspective, for what they reveal about the religion, mythology, history, politics and social context of the periods in which they were created. Student Learning Outcomes Students will learn to recognize and identify all monuments on the syllabus, and to contextualize and interpret art as the product of specific historical, political, social and economic circumstances. Students will understand the general characteristics of each historical or stylistic period, and the differences and similarities between cultures and periods. The paper assignment will develop students’ skills in visual analysis, critical thinking and written communication. This is an Explorations course in the Humanities and Fine Arts. Completing this course will help you to do the following in greater depth: 1) analyze written, visual, or performed texts in the humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments; 2) describe various aesthetic and other value systems and the ways they are communicated across time and cultures; 3) identify issues in the humanities that have personal and global relevance; 4) demonstrate the ability to approach complex problems and ask complex questions drawing upon knowledge of the humanities. Course Materials Text: F. -
Money, History and Energy Accounting Essay Author: Skip Sievert June 2008 Open Source Information
Some Historic aspects of money... Money, History and Energy accounting Essay author: Skip Sievert June 2008 open source information. The Technocracy Technate design uses Energy accounting as the viable alternative to the current Price System. Energy Accounting- Fezer. The Emergence of money The use of barter like methods may date back to at least 100,000 years ago. To organize production and to distribute goods and services among their populations, pre- market economies relied on tradition, top-down command, or community cooperation. Relations of reciprocity and/or redistribution substituted for market exchange. Trading in red ochre is attested in Swaziland. Shell jewellery in the form of strung beads also dates back to this period and had the basic attributes needed of commodity money. In cultures where metal working was unknown... shell or ivory jewellery was the most divisible, easily stored and transportable, relatively scarce, and impossible to counterfeit type of object that could be made into a coveted stylized ornament or trading object. It is highly unlikely that there were formal markets in 100,000 B.P. Nevertheless... something akin to our currently used concept of money was useful in frequent transactions of hunter-gatherer cultures, possibly for such things as bride purchase, prostitution, splitting possessions upon death, tribute, obtaining otherwise scarce objects or material, inter-tribal trade in hunting ground rights.. and acquiring handcrafted implements. All of these transactions suffer from some basic problems of barter — they require an improbable coincidence of wants or events. History of the beginnings of our current system Sumerian shell money below. Sumer was a collection of city states around the Lower Tigris and Euphrates rivers in what is now southern Iraq. -
Art List by Year
ART LIST BY YEAR Page Period Year Title Medium Artist Location 36 Mesopotamia Sumerian 2600 Standard of Ur Inlaid Box British Museum 36 Mesopotamia Sumerian 2600 Stele of the Vultures (Victory Stele of Eannatum) Limestone Louvre 38 Mesopotamia Sumerian 2600 Bull Headed Harp Harp British Museum 39 Mesopotamia Sumerian 2600 Banquet Scene cylinder seal Lapis Lazoli British Museum 40 Mesopotamia Akkadian 2254 Victory Stele of Narum-Sin Sandstone Louvre 42 Mesopotamia Akkadian 2100 Gudea Seated Diorite Louvre 43 Mesopotamia Akkadian 2100 Gudea Standing Calcite Louvre 44 Mesopotamia Babylonian 1780 Stele of Hammurabi Basalt Louvre 45 Mesopotamia Assyrian 1350 Statue of Queen Napir-Asu Bronze Louvre 46 Mesopotamia Assyrian 750 Lamassu (man headed winged bull 13') Limestone Louvre 48 Mesopotamia Assyrian 640 Ashurbanipal hunting lions Relief Gypsum British Museum 65 Egypt Old Kingdom 2500 Seated Scribe Limestone Louvre 75 Egypt New Kingdom 1400 Nebamun hunting fowl Fresco British Museum 75 Egypt New Kingdom 1400 Nebamun funery banquet Fresco British Museum 80 Egypt New Kingdom 1300 Last Judgement of Hunefer Papyrus Scroll British Museum 81 Egypt First Millenium 680 Taharqo as a sphinx (2') Granite British Museum 110 Ancient Greece Orientalizing 625 Corinthian Black Figure Amphora Vase British Museum 111 Ancient Greece Orientalizing 625 Lady of Auxerre (Kore from Crete) Limestone Louvre 121 Ancient Greece Archaic 540 Achilles & Ajax Vase Execias Vatican 122 Ancient Greece Archaic 510 Herakles wrestling Antaios Vase Louvre 133 Ancient Greece High -
After the Battle Is Over: the Stele of the Vultures and the Beginning Of
To raise the ofthe natureof narrative is to invite After the Battle Is Over: The Stele question reflectionon the verynature of culture. Hayden White, "The Value of Narrativity . ," 1981 of the Vultures and the Beginning of Historical Narrative in the Art Definitions of narrative, generallyfalling within the purviewof literarycriticism, are nonethelessimportant to of the Ancient Near East arthistorians. From the simpleststarting point, "for writing to be narrative,no moreand no less thana tellerand a tale are required.'1 Narrativeis, in otherwords, a solutionto " 2 the problemof "how to translateknowing into telling. In general,narrative may be said to make use ofthird-person cases and of past tenses, such that the teller of the story standssomehow outside and separatefrom the action.3But IRENE J. WINTER what is importantis thatnarrative cannot be equated with thestory alone; it is content(story) structured by the telling, University of Pennsylvania forthe organization of the story is whatturns it into narrative.4 Such a definitionwould seem to providefertile ground forart-historical inquiry; for what, after all, is a paintingor relief,if not contentordered by the telling(composition)? Yet, not all figuraiworks "tell" a story.Sometimes they "refer"to a story;and sometimesthey embody an abstract concept withoutthe necessaryaction and settingof a tale at all. For an investigationof visual representation, it seems importantto distinguishbetween instancesin which the narrativeis vested in a verbal text- the images servingas but illustrationsof the text,not necessarily"narrative" in themselves,but ratherreferences to the narrative- and instancesin whichthe narrativeis located in the represen- tations,the storyreadable throughthe images. In the specificcase of the ancientNear East, instances in whichnarrative is carriedthrough the imageryitself are rare,reflecting a situationfundamentally different from that foundsubsequently in the West, and oftenfrom that found in the furtherEast as well. -
Terms and Facts- Hierarchical Scale
Terms and facts- Hierarchical scale From the Prehistoric and Neolithic- Post and Lintel, Megalith, tumulus, henge From Mesopotamia- The Code of Hammurabi, Shamash, Lamassu, Ziggurat, load bearing architecture, The Sumerians, the Akkadians, the Assyrians, the Babylonians, Stele or Stela From Minoa- Labrys, The myth of King Minos and the Minotaur From Mycenae- Corbelled vaults and domes, repousse, Tholos, Megaron, krater From Ancient Egypt- Ben-ben, mastaba, Imhotep, Ma’at, Canon (of artistic laws), cartouche, Canopic jars, Shabti or ushabti, the imagery of nine in connection to the pharaoh, the Amarna Period From Ancient Greece- Polykleitos, Humanism, contrapposto, Exekias, kouros and Kore, archaic smile, Praxiteles, some Greek mythology-especially the main gods and goddesses, meander (key design) Know the seven steps to lost wax casting Know the basic architecture of a Greek Temple-peristyle, the three column orders, (Doric, Ionic, Corinthian), stylobate, cella, shaft, caryatids, pediment, capital The two styles of Greek vase painting-black figure and red figure-the basic differences in look You should look up exam one of these myths and know the basic story or the main story about the character listed: Prometheus and Fire Apollo and Daphne Pygmalion and Galatea Niobe Persephone and Hades Pandora Tantalus-Son of Zeus The Danaides Alcyone and Ceyx Idas and Marpessa The Fall of Icarus Theseus and the Minotaur Perseus and the Medusa Jason and Medea Hercules and the Stymphalian Birds Chapter 2.9 Sculpture PART 2 MEDIA AND PROCESSES Seven steps in the lost-wax casting process Build and armature, sculpt the piece (clay), cover with ½ “ layer of wax, cover the entire piece with debris mixture, heat the entire work to melt out the wax through pre-drilled hole, pour the molten metal into the work through pre-drilled holes, break away the debris layer, clean and polishGateways to Art: Understanding the Visual Arts, Debra J. -
The Code of Hammurabi
The Code of Hammurabi The Original Version of this Text was Rendered into HTML by Jon Roland of the Constitution Society Converted to PDF by Danny Stone as a Community Service to the Constitution Society The Code of Hammurabi 1 The Code of Hammurabi hen Anu the Sublime, King of the Anunaki, and Bel, the lord of Heaven and earth, who Wdecreed the fate of the land, assigned to Marduk, the over-ruling son of Ea, God of righteousness, dominion over earthly man, and made him great among the Igigi, they called Babylon by his illustrious name, made it great on earth, and founded an everlasting kingdom in it, whose foundations are laid so solidly as those of heaven and earth; then Anu and Bel called by name me, Hammurabi, the exalted prince, who feared God, to bring about the rule of righteousness in the land, to destroy the wicked and the evil-doers; so that the strong should not harm the weak; so that I should rule over the black-headed people like Shamash, and enlighten the land, to further the well- being of mankind. Hammurabi, the prince, called of Bel am I, making riches and increase, enriching Nippur and Dur-ilu beyond compare, sublime patron of E-kur; who reestablished Eridu and purified the worship of E- apsu; who conquered the four quarters of the world, made great the name of Babylon, rejoiced the heart of Marduk, his lord who daily pays his devotions in Saggil; the royal scion whom Sin made; who enriched Ur; the humble, the reverent, who brings wealth to Gish-shir-gal; the white king, heard of Shamash, the mighty, who again laid the -
Justice in Ancient Mesopotamia Zchapter ONE JUSTICE in ANCIENT MESOPOTAMIA
Justice in Ancient Mesopotamia zCHAPTER ONE JUSTICE IN ANCIENT MESOPOTAMIA Introduction Any study of justice in the Bible must begin with ancient Mesopotamia be- cause the concept and the vocabulary of biblical justice are rooted in that culture. To uncover these roots, this chapter will explore justice in ancient Mesopotamia from the Sumerian culture to the Neo-Babylonian. Although the scope of this chapter seems ambitious, its purpose is limited. The structure of judicial power and the general administration of justice in these cultures will not be treated here.1 This chapter restricts itself rather to the analysis of certain aspects of justice: the problem of the poor and the oppressed, the action of the government in response to them, and the reflection of such a problem in popu- lar piety.2 The concept of justice in ancient Mesopotamia embraces a broader meaning than our concepts of commutative, distributive, or social justice. It is not enough for the governor to promulgate good laws and supervise the keeping of these laws; in order for justice to have its place in the Mesopotamian world, he must also issue decrees of mercy that allow the restoration of a destabilized equality. This chapter studies the texts in chronological order. After an overview of early social and economic development in ancient Mesopotamia, it analyzes the first of social reforms undertaken there. It then goes on to consider the various Mesopotamian law codes, the decrees of mercy (“justice”), and the religious texts that reflect the situation facing the underclasses of Mesopotamia.3 1 For a study of the characteristic structures of judicial power as well as the adminis- tration of justice in general within the societies of ancient Mesopotamia, see Hans J. -
Unit 6: Ancient Sumer Ancient Civilizations Options 5000BCE – 1940BCE
Unit 6: Ancient Sumer Ancient Civilizations Options 5000BCE – 1940BCE Period Overview The Ancient Sumer civilization grew up around the Euphretes and Tigris rivers in Mesopotamia (modern-day Iraq), because of its natural fertility. It is often called the ‘cradle of civilization’. By 3000BCE the area was inhabited by 12 main city states, with most developing a monarchical system. The fertility of the soil in the area allowed the societies to devote their attention to other things, and so the Sumer is renowned for its innovation. The clock system we use today of 60-minute hours was devised by Ancient Sumerians, as was writing and the recording of a number system. The civilization began to decline after the invasion of the city states by Sargon I in around 2330BCE, bringing them into the Akkadian Empire. A later Sumerian revival occurred in the area. Life in Ancient Sumer Changing Times Although starting out as small villages and groups of During the 5th Millennium BCE, Sumerians began to hunter-gatherers, Sumer is notable because of its develop large towns which became city-states. This development into a chain of cities. Within the cities the was made by possible by their systems of cultivation of advantages of communal living soon allowed crops, including some of the world’s earliest irrigation individuals to take on other roles than farming, and a systems. These developing communities then were society of classes developed. At the top of the class able to devote time to pursuits other than gathering system were the king and his family, and the priests. -
The Code of Hammurabi: an Economic Interpretation
International Journal of Business and Social Science Vol. 2 No. 8; May 2011 The Code of Hammurabi: An Economic Interpretation K.V. Nagarajan Department of Economics, School of Commerce and Administration Laurentian University, Sudbury Canada E-mail: [email protected], Fax: 705-675-4886 Introduction Hammurabi was the ruler of Babylon from 1792 B.C. to 1750 B.C1. He is much celebrated for proclaiming a set of laws, called the Code of Hammurabi (The Code henceforward). The Code was written in the Akkadian language and engraved on black diorite, measuring about two-and-a-quarter meters. The tablet is on display in the Louvre, Paris. The stone carving on which the laws are written was found in 1901-1902 by French archeologists at the Edomite capital Susa which is now part of the Kuzhisthan province in Iran. The Code was determined to be written circa 1780 B.C. Although there are other codes preceding it2, The Code is considered the first important legal code known to historians for its comprehensive coverage of topics and wide-spread application. It has been translated and analyzed by historians, legal and theological scholars (Goodspeed, 1902; Vincent, 1904; Duncan, 1904; Pfeiffer, 1920; Driver and Miles, 1952). The Code is well- known for embodying the principle of lex talionis (“eye for an eye”) which is described as a system of retributive justice. However, The Code is also much more complex than just describing offenses and punishments and not all punishments are of the retributive kind. The Code has great relevance to economists. However, very few studies have been undertaken from an economic or economic thought point of view. -
DESENVOLVIMENTO DO ESQUEMA DECORATIVO DAS SALAS DO TRONO DO PERÍODO NEO-ASSÍRIO (934-609 A.C.): IMAGEM TEXTO E ESPAÇO COMO VE
UNIVERSIDADE DE SÃO PAULO MUSEU DE ARQUEOLOGIA E ETNOLOGIA PROGRAMA DE PÓS-GRADUAÇÃO EM ARQUEOLOGIA DESENVOLVIMENTO DO ESQUEMA DECORATIVO DAS SALAS DO TRONO DO PERÍODO NEO-ASSÍRIO (934-609 a.C.): IMAGEM TEXTO E ESPAÇO COMO VEÍCULOS DA RETÓRICA REAL VOLUME I PHILIPPE RACY TAKLA Dissertação apresentada ao Programa de Pós-Graduação em Arqueologia do Museu de Arqueologia e Etnologia da Universidade de São Paulo para obtenção do título de Mestre em Arqueologia. Orientadora: Profª. Drª. ELAINE FARIAS VELOSO HIRATA Linha de Pesquisa: REPRESENTAÇÕES SIMBÓLICAS EM ARQUEOLOGIA São Paulo 2008 RESUMO Este trabalho busca a elaboração de um quadro interpretativo que possibilite analisar o desenvolvimento do esquema decorativo presente nas salas do trono dos palácios construídos pelos reis assírios durante o período que veio a ser conhecido como neo- assírio (934 – 609 a.C.). Entendemos como esquema decorativo a presença de imagens e textos inseridos em um contexto arquitetural. Temos por objetivo demonstrar que a evolução do esquema decorativo, dada sua importância como veículo da retórica real, reflete a transformação da política e da ideologia imperial, bem como das fronteiras do império, ao longo do período neo-assírio. Palavras-chave: Assíria, Palácio, Iconografia, Arqueologia, Ideologia. 2 ABSTRACT The aim of this work is the elaboration of a interpretative framework that allow us to analyze the development of the decorative scheme of the throne rooms located at the palaces built by the Assyrians kings during the period that become known as Neo- Assyrian (934 – 609 BC). We consider decorative scheme as being the presence of texts and images in an architectural setting. -
Cambridge University Press 978-1-108-49596-7 — the Amorites and the Bronze Age Near East Aaron A
Cambridge University Press 978-1-108-49596-7 — The Amorites and the Bronze Age Near East Aaron A. Burke Index More Information INDEX ꜤꜢmw (Egyptian term), 145–47 See also Asiatics “communities of practice,” 18–20, 38–40, 42, (Egypt) 347–48 decline of, 350–51 A’ali, 226 during Early Bronze Age, 31 ‘Aa-zeh-Re’ Nehesy, 316–17 Ebla, 38–40, 56, 178 Abarsal, 45 emergence of, 23, 346–47 Abda-El (Amorite), 153–54 extensification of, 18–20 Abi-eshuh, 297, 334–35 hollow cities, 178–79 Abisare (Larsa), 160 Jazira, 38, 177 Abishemu I (Byblos), 175 “land rush,” 177–78 Abraham, 6 Mari, 38–40, 56, 177–79, 227–28 abu as symbolic kinship, 268–70 Nawar, 38, 40, 42 Abu en-Ni’aj, Tell, 65 Northern Levant, 177 Abu Hamad, 54 Qatna, 179 Abu Salabikh, 100 revival of, 176–80, 357 Abusch, Tzvi, 186 Shubat Enlil, 177–78, 180 Abydos, 220 social identity of Amorites and, 10 Achaemenid Empire, 12 Urkesh, 38, 42 Achsaph, 176 wool trade and, 23 ‘Adabal (deity), 40 Yamḫ ad, 179 Adad/Hadad (deity), 58–59, 134, 209–10, 228–29, zone of uncertainty and, 24, 174 264, 309–11, 338, 364 Ahbabu, 131 Adams, Robert, 128 Ahbutum (tribe), 97 Adamsah, 109 Ahktoy III, 147 Adba-El (Mari), 153–54 Ahmar, Tell, 51–53, 56, 136, 228 Addahushu (Elam), 320 Ahmose, 341–42 Ader, 50 ‘Ai, 33 Admonitions of Ipuwer, 172 ‘Ain Zurekiyeh, 237–38 aDNA. See DNA Ajjul, Tell el-, 142, 237–38, 326, 329, 341–42 Adnigkudu (deity), 254–55 Akkadian Empire. -
The Quest for Order O Mesopotamia: “The Land Between the Rivers”
A wall relief from an Assyrian palace of the eighth century B.C.E. depicts Gilgamesh as a heroic figure holding a lion. Page 25 • The Quest for Order o Mesopotamia: “The Land between the Rivers” o The Course of Empire o The Later Mesopotamian Empires • The Formation of a Complex Society and Sophisticated Cultural Traditions o Economic Specialization and Trade o The Emergence of a Stratified Patriarchal Society o The Development of Written Cultural Traditions • The Broader Influence of Mesopotamian Society o Hebrews, Israelites, and Jews o The Phoenicians • The Indo-European Migrations o Indo-European Origins o Indo-European Expansion and Its Effects o EYEWITNESS: Gilgamesh: The Man and the Myth B y far the best-known individual of ancient Mesopotamian society was a man named Gilgamesh. According to historical sources, Gilgamesh was the fifth king of the city of Uruk. He ruled about 2750 B.C.E.—for a period of 126 years, according to one semilegendary source—and he led his community in its conflicts with Kish, a nearby city that was the principal rival of Uruk. Historical sources record little additional detail about Gilgamesh's life and deeds. But Gilgamesh was a figure of Mesopotamian mythology and folklore as well as history. He was the subject of numerous poems and legends, and Mesopotamian bards made him the central figure in a cycle of stories known collectively as theEpic of Gilgamesh. As a figure of legend, Gilgamesh became the greatest hero figure of ancient Mesopotamia. According to the stories, the gods granted Gilgamesh a perfect body and endowed him with superhuman strength and courage.