Answer by commenting on the blog or print out for next class; (2-3 paragraphs)
Choose and fully identify a specific image from this chapter that uses narrative to convey power and authority. Describe how the narrative refers to issues of power and authority in the culture that produced it.
Your essay must:
- Fully identify the work
- Describe in detail how it uses narrative-support with descriptive details.
- Discuss how it refers to power and authority.
5 comments:
Found in Iran, The Stele of Hammurabi is a 7 foot high piece of Diorite stone containing the codification of the Babylonians rights, obligations, and penalties. Dating back to around 1792-1750 bce, this Stele is the first known attempt in history to create an empire based on codified laws.
Hammurabi’s code is not only a public statement of power, but is also a work of art. On this 7 foot high diorite stone, it portrays the god of sun and justice, Susa, consulting with the very respectful, Hammurabi. The association with gods and the ruler in the 18th century bce was a huge factor to the ways in which the emperor governed. By having this connection with Gods, this made the emperors authority even more absolute. The laws, which were inscribed on the stele, consisted of harsh rules, along with descriptions Hammurabi’s accomplishments and glory. For example, the very famous law of, “An eye for an eye, a tooth for a tooth” et cetera. The Stele of Hammurabi may have very strict rules, but the fact that it was literally inscribed in stone made it that much more authoritative. However, these laws were somewhat limiting to his power because it eliminated his ability to dictate on a whim, almost tying himself down to these laws. Nonetheless, his goal was, “to cause justice to prevail in the land and to destroy the wicked and the evil, that the strong might not oppress the weak nor the weak the strong.” The Code of Hammurabi had the power to do just that. Today, this great work of art and history is housed in the Musee du Louvre, Paris, France.
by Nina Byers
AP Art History Aine Cain Near East Chapter 9/17/09
In the ancient times of the Near East, one group in particular dominated the Fertile Crescent. They were known as the Assyrians, often remembered for their fierceness in battle. However, the methods they used to intimidate were not solely militaristic. Art was created to frighten and command respect for the civilization. One example of this practice was located in the ancient city of Kalhu (Nimrud). In this ancient metropolis, an alabaster sculpture’s stern gaze struck fear into the hearts of many a passerby. Dated back to the 9th century BCE, it is a towering 10’31/2, and the "Human-Headed Winged Lion", also known as a Lamassus, is not just there for decoration.
The Lamassus is composed of an assortment of creatures, each with a specific symbolic meaning. Its torso is that of a lion or bull (the one at Kalhu is a lion), representing valor and strength. Its feathery wings also could be interpreted as a symbol of power, while its head and religious headdress symbolize intelligence and divinity. All of these are traits that would be useful to an authority figure at the time. The skills used to create the art and the fine details of the work also speak of great wealth and appreciation of art and culture on behalf of the society. The Assyrians clearly wished to impress individuals with this sculpture; the message is intimidating, the symbolism reflects authority, and the craftsmanship beautiful. "The Human-Headed Winged Lion" resides today in the Metropolitan Museum of Art.
In the Stele of Naram-Sin, created between 2220-2184 BCE, Naram-Sin inscribed his power in a 6’ 6” piece of limestone. Excavated in Susa, between the Shaur River and the Zagros Mountains, it was one of the first works of art to celebrate the triumph of a specific ruler. Naram-Sin, the god-king being memorialized, was the grandson of Sargon, “King of the Four Quarters of the World”, who had conquered most of Mesopotamia during his rule. Following in the steps of his grandfather, Naram-Sin conquered the people of the Zagros Mountains and made himself divine. This new concept of being divine even required new iconography to be introduced. Naram-Sin’s memorial to victory has helped scholars begin to record events back to Ancient Near East times.
Unlike the narrative registers of the Uruk Vase, the Stele of Naram-Sin’s narrative is shown in one scene. Using the hieratic scale, where the size of a character is in proportion with its importance, Naram-Sin is the largest character in the carving, also standing above his smaller sized militia. His soldiers carry their weapons triumphantly upright as they march over the defeated Mountain people. Some people are groveling at Naram-Sin’s feet, while others lying dead on the way up to the mountain. As Naram-Sin ascends the mountain, three solar deities watch over his victory and he fashions a horned helmet-crown that was associated with deities. When creating this stele, the artist must have had some requests from Naram-Sin to glorify his figure a top the hill.
Although the carving has many figures in motion, Naram-Sin is the focal point, and it could not have been by accident. According the hieratic scale, because of Naram-Sin’s size compared to his soldiers, he has the most authority and power. Aside from his size, his militia is also looking up at him, appearing to await his next move. He holds a spear hesitantly, so that it is unclear to the viewer whether he is planning on spearing the survivors of the fight or not. Naram-Sin is also the center of the slab and the only one standing on top of the hill, making him the focal point. Its amazing that ancient people had imagination to preserve so much vistory, power, and authority in a single slab of stone. Naram-Sin’s victory lives forever in the piece of limestone, although his people only dominated their region for about a century.
The Stele of Hammurabi is one of the earliest forms of written law. A legal code that listed the laws of Hammurabi's realm and the penalties for breaking them, it was one of Hammurabi's greatest accomplishments. Without the stele it would have been much more difficult for Hammurabi to enforce law and order in his domain.
The stele stands seven feet tall and is constructed of Diorite. Pictured at the top of the stele, Hammurabi is spotted standing before a mountain receiving laws from Shamash. Below this scene is Hammurabi's code written in registers. Most of Hammurabi's laws were quite harsh; "an eye for an eye, a tooth for a tooth." Often times, the death penalty would be assessed. While engraving these laws in stone gave them more authority, it also meant that Hammurabi could not ammend them. Punishments were based on the welath, class, and gender of the parties. All of these laws favored the higher and wealthier classes. Hammurabi's code provided a new step toward an organzied and civil existance. It was the first of it's kind and proved very influencial in future law. Though the stele currenlty rests quietly in the Musee du Louvre in Paris, The Stele of Hammurabi and it's contents once ruled its domain with great authority and frequency.
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