Intl. J. Humanities (2017) Vol. 24 (4): (69-86) The Impact of Neo-Assyrian Art on Mannaean Societies of Western and North Western Iran Mahta Sheikhi1, Alireza Hejebri Nobari2, Mahmoud Tavoosi3, Reza Shabani SamghAbadi4 Received: 2016/5/6 Accepted: 2018/1/25 Abstract The artifacts belonging to the Mannaean culture that are preserved in major museums worldwide display symbolic images indicating hidden values and meanings derived from their common beliefs and traditions. An analytical study of the reminiscence of the symbols used in these objects reveal the influence of religion and ritual traditions in Mannaean societies and their deep relations with the Neo-Assyrian culture. In this research, by examining and analyzing the most prominent symbolic images such as the sacred tree, winged gods, mythological creatures, Ishtar goddess on golden plaque, earthenware, ivory plaques and other objects found in Ziwiye, Hasanlu and Qalaichitepes as well as ivory objects with pictures of battle scenes, chariot riding and formal ceremonies found at Mannaean sites, we try to take a closer look at the impact of the Neo- Assyrian art on the Mannaean art and culture. Keywords: Mannaean Culture, Neo-Assyrian Art, Artifacts, North West Iran. _________________________________________________________________ 1 Ph.D student in Archeology, Department of Archeology, Science and Research Branch, Islamic Azad University, Tehran, Iran. 2 Professor of Archeology, Faculty of Humanities, Tarbiat Modares University, Tehran, Iran, [email protected] (Corresponding Author). 3 Professor of Art, Faculty of Art, Tarbiat Modares Univesity, Teharn, Iran. 4 Professor of History, Faculty of Humanities, Shahid Baheshti Univesity, Tehran, Iran. 69 The Impact of Neo-Assyrian Art on Mannaean … ______ Intl. J. Humanities (2017) Vol. 24 (4) Introduction culture on neighboring tribes, especially the Iran’s north western regions have always Assyrians. been a settlement hub for varying tribes, thanks to their favorable environment, rich Review of Fine Arts from Neo-Assyrian mines, and their proximity to important Era routes. During the first millennium B.C, The neo-Assyrian era provided an Mannaeans were the mightiest tribes of this appropriate setting for the activities of artists region. Report on military expedition of who were involved in the formation of the Shalmaneser III, the king of Assyria, in 843 Assyrian Empire in line with politicians BC is the first written record to mention the through depicting mental and cultural term Manna (Lukenbill, 1926: 235). Based on aspects. In this age, apart from architecture, the Assyrian and Urartian written sources, novel works could be seen in the realm of fine along with archaeological studies of the arts. The main themes of the art in this era Mannaean regions, such as Ziwiye, Qalaichi, were ceremonial rites, rituals, battle of heroes and Hasanlu, the State of Manna was against mythical creatures, and wild animals. neighbor to Urartu Land on the north (in the Also, Assyrian high reliefs show scenes of outskirts of modern Oshnavieh and Solduz social life, wars, and military expeditions, Plains), while on the eastern and south which appear less in fine arts. In Neo- eastern banks of Urmia Lake, it shared the Assyrian art, depictions of women are limited border with Urartu (MollaZadeh, 2009: 50). and are often in relation with goddesses and In the west, there were Assyrian States, which social scenes, and elegance in depictions, resembled the borderline heights of Iran and details, and particular way of men's makeup Iraq, in the fact, that Manna bordered Parsua, and clothing are among its other aspects. In GizilBunda, southern and eastern heights neo-Assyrian fine arts, ivory works with (Levine, 1973: 2) and surrounding QizilUzan images of mythical creatures, sacred animals, Valley (Lanfranchi, 1990: 12). The capital of and pictures of plants and humans are Manna was the city of Izirtu (Mollazadeh, significant, in which the influence of 2009: 50) and they had a monarchy. Their Egyptian, Syrian, and Phoenician cultures domain was divided into numerous states, can be seen. In Assyria, dishes, weaponry, each administered by a local governor and and jewelry were made of metals and had the nobility who were tribal chieftains of religious and symbolic motifs. Many of these Manna and played a key role in political works entered Assyria as spoils of war, and affairs (Diakonoff, 1992: 167). The presence transferred cultural and artistic themes. Seal- of the Manna in political sphere coincided making was another neo-Assyrian era's with the formation of Assyrian Empire and in industry. Stamp seals gradually took the place Assyrian kings' annals, there are some of cylindrical ones, examples of which have references to their wars and political been obtained in Bactria (Balkh) (Sarianidi, dealings. The Mannaeans were craftsmen 2000: 22). They have animal and geometrical and artists. An artifact from their settlements images (they were crafted in linear, drilling, such as Ziwiye, Qalaichi, and Hasanlu and cutting methods) (Majid Zadeh, 2002: indicates cultural, social, artistic, ritualistic, 224), along with plant, sun, star, and mythical and religious patterns and impact of their animals images. 70 Sheikhi, M and others ______________________ Intl. J. Humanities (2016) Vol. 24 (4): (69-86) Sculpture did not prosper much in dynamic and powerful societies, whose neo-Assyrian era. Few statues, remaining craftsmen and artists were familiar with from this era, are rigid and inflexible, often in mental and ritualistic concepts as well as the form of gods and kings who are standing artistic principles of their neighbors and had with their hands crossed against chests. cultural exchanges with them. In the objects These were used in temples to keep dishes retrieved from these regions, different kinds (Mortage, 2006: 65). of Urartian, Assyrian, and Scythian cultural There are some individual royal figures, elements can be seen, which sometimes came remaining from the 9th century BC, the most from adjacent civilizations and sometimes complete of which belongs to Ashurnasirpal were intermingled with local art of this II. Moreover, many talismanic figurines have region. In these works, animal elements play been obtained which had been in the shape of an important role and are linked to the standing men or hybrid creatures (man-fish, Scythian art in this regard. In Scythian works, man-lion) or powerful animals in order to animal depictions were the main element of ward off diseases (Green, 1983: 87). adornment and by presenting these images the artist aimed at inducing real image of the animals, illustrating different states of animals in one scene (Rice, 1993: 40), whereas Mannaean art used various types of combined images of animal-human in a mythical way, which also differs from the Assyrian art in some technical and conceptual aspects. The use of inlaid Fig. 1 Three Pieces of Clay Statues obtained technique can be seen in ivory and golden From Nimrud, British Museum, London (Green, Mannaean works, which had been common 1983: 87) in the art of Urartu, Assyria, Northern Syria, and Phoenicia at the same time. Having its own specific characteristics in the Mannaean regions, this art has been called the local art or the Zagros Style by some scholars. Its characteristics include modeling the nature and presenting a lively and free style in presenting animal and human depictions. Fig. 2 Inlaid Ivory Plaque, Recovered from Nimrud, Mannaean earthenware is another indicative British Museum, London (Parrot, 1961: 153) work of this tribe, the common format of which is wide-lipped jugs (Marcus, 1996: 54) A Survey of Fine Arts in Mannaean with varying colorful images or delicate Societies carved embellishments with triangular Cultural works, recovered from important designs. In general, the main themes of the Mannaean regions such as Ziwiye, Qalaichi, Mannaean art can be attributed to the use of and Hasanlu IV that had been built during lively colors in order to depict mythical icons the Iron Age III (800-500 BC), possessed as well as novel combinations of gods, technical and thematic closeness, indicating 71 The Impact of Neo-Assyrian Art on Mannaean … ______ Intl. J. Humanities (2017) Vol. 24 (4) animals, trees of life, lotus, and geometrical economic center in the 9th century BC. In the designs. central Hasanlu hill, ten eras of settlement (from the seventh millennium up to the Sassanid era and the early Islamic period) have been identified. One of its important works is an Urartian castle, constructed after the destruction of Hasanlu IV in the mid-8th century and during the eighth invasion of Sargon (714 BC), it was captured by the Fig. 3 Pictured Glazed Brick, Bukan, Collection, Assyrian and given to the Manna. The Japan (Hasanzadeh & Mollasalehi, 2011: 4) Manna settled in this region during the 7th century BC and their earthenware resembled The Influence of Neo-Assyrian Culture on those of Ziwiye, ZendanSoleyman and Artistic Themes of Mannaean Societies Qalaichi regions. They were retrieved from Practical arts and decorative designs, layer IIIB of Dayson Stratigraphy as well as depicted on artifacts, are the most important IIIA (Mollazadeh, 2009: 96). Glazed tiles tool to transfer culture along with artistic and were used in interior decorations of Hasanlu conceptual traditions among ancient nations buildings, in accordance to Assyrian style (Mortezaei, 2012: 47). When studying (Dayson, 1960: 120). Moreover, some golden, Mannaean works, the deep influence of ivory, earthenware, and bronze works have Assyria, as a result of their widespread been found in this region, which were often cultural connections with one another, can indicative of local art, also showing the be seen. The region of Ziwiye in Saqqez is one influence of Urartian and the neo-Assyrian of the most important Mannaean regions, art. west of Iran, which due to its unmatched treasure and a sturdy castle atop its hill has Sacred Tree in Neo-Assyrian Art gained global popularity. Works from the Trees had a close link with ancient people, Ziwiye treasure, which were accidently showing up in their art.