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“Collins leads a breathtaking lion hunt in his marvellous introduction to one of the British Museum’s fiercest and most famous treasures” (Times [UK]) Between the ninth and seventh centuries BCE, the small kingdom of Assyria (present-day northern Iraq) expanded through conquest from Egypt to Iran. The relief sculptures that decorated Assyrian palaces represent the high point of Mesopotamian art of the first millennium BCE, both for their artistic quality and their vivid depictions of warfare, rituals, mythology, hunting, and other aspects of Assyrian life. Together, the sculptures constitute some of the most impressive and eloquent witnesses of the ancient Near East, their importance only increasing with the recent destruction by ISIS of many of the reliefs that remained in Iraq. Originally published by the British Museum in 2008, this book serves as a superb visual introduction to these extraordinary sculptures, showcasing a series of stunning photographs of the museum’s unrivaled collection of Assyrian reliefs. Highlighting individual panels and their often overlooked details, these images capture the majesty of Assyrian kings, their splendid courts, and protecting divinities. An introduction by Collins sets the sculptures in their cultural and art historical context, while the following chapters provide a brief history of Assyria and its royal palaces as well as an overview of the artworks’ discovery, reception, and understanding.
One of the best-known images of the ancient Near East is an intriguing nineteenth-century color lithograph reconstructing the throne room of an Assyrian palace. Executed shortly after the archaeological rediscovery of Assyria, a land theretofore known only from the Bible, it was published by the most famous among early excavators of Assyrian ruins, Austen Henry Layard. Over time and despite criticisms, the picture has shaped the understanding and reception of ancient Mesopotamian architecture and architectural decoration. Inside an Ancient Assyrian Palace studies this influential image in depth, both at the time of its creation in London in the eventful year 1848 and in terms of its afterlife. A hidden inscription reveals unsuspected contributions by the renowned architect-designer Owen Jones and his colleague the architect-Egyptologist Joseph Bonomi. Also unexpected is the involvement of an enigmatic German artist who later emigrated to America and whose previous career in Europe had been lost to scholarship. This book will be of interest to scholars and students of art history and the ancient Near East. It will also be of relevance to museum visitors and others interested in the ancient world in general, in the art of the nineteenth century, and in design and historical reconstruction.
A detailed exploration of Layard's famous lithograph of the interior of an Assyrian palace
Discussions of apocalyptic thought and its sources in the ancient Near East, particularly Mesopotamia, have a long scholarly history, with a renewed interest and focus in the recent decades. Outside Assyriological scholarship as well, studies of the apocalyptic give significant credit to the ancient Near East, especially Babylonia and Iran, as potential sources for the manifestations of this phenomenon in the Hellenistic period. The emphasis on kingship and empire in apocalyptic modes of thinking warrants special attention paid to the regal art of ancient Mesopotamia and adjacent areas in its potential to express the relevant notions. In this book, Mehmet-Ali Ataç demonstrates the importance of visual evidence as a source for apocalyptic thought. Focusing on the so-called investiture painting from Mari, he relates it to parallel evidence from the visual traditions of the Assyrian Empire, ancient Egypt, and Hittite Anatolia.
An insider's look at the iconography and history of Assyrian reliefs and the West's fascination with these ancient monuments
This large handsome volume, carefully reproduced from the original edition of 1849-53 and bound in deluxe Verona cloth, contains 170 drawings made by Layard of sculptures, bas-reliefs, and other objects discovered by him among the ruins of Nineveh.
This volume assembles more than 30 articles focusing on the visual, material, and environmental arts of the Ancient Near East. Specific case studies range temporally from the fourth millennium up to the Hellenistic period and geographically from Iran to the eastern Mediterranean. Contributions apply innovative theoretical and methodological approaches to archaeological evidence and critically examine the historiography of the discipline itself. Not intended to be comprehensive, the volume instead captures a cross-section of the field of Ancient Near Eastern art history as its stands in the second decade of the twenty-first century. The volume will be of value to scholars working in the Ancient Near East as well as others interested in newer art historical and anthropological approaches to visual culture.
In this book, Mehmet-Ali Ataç argues that the palace reliefs of the Neo-Assyrian Empire hold a meaning deeper than simple imperial propaganda.
Nimrud (ancient Kalhu) in northern Iraq, was the capital of the Assyrian Empire during most of the 9th and 8th centuries BC, and remained a major centre until the destruction of the Empire in 612 BC. This authoritative account, written by two of the excavators of the site, traces its history and its gradual revelation through archaeological excavation, begun by Layard in the 19th century and continuing to the present day. The volume is abundantly illustrated and includes finds that have not previously been published, together with illustrations and the most complete account in English so far of the remarkable discoveries made in recent years by Iraqi archaeologists in the tombs of the Assyrian Queens. Contents: Introduction; Chapter 1: The Land of Assyria - Setting the Scene; Chapter 2: Major Palaces on the Citadel; Chapter 3: Tombs, Wells and Riches; Chapter 4: Temples, Minor Palaces and Private Houses; Chapter 4: Fort Shalmaneser: the ekal masarti; Chapter 6: The Written Evidence; Chapter 7: Types of Object and Materials from Nimrud; Chapter 8: Post-Assyrian Nimrud; Epilogue.