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Identification and classification of a private Danish collection of seals, which were acquired in Baghdad over a number of years more than 30 years ago. The collection covers a period extending from the late Ubaid to the Sasanian dynasty, c. 4000 BC -- 642 AD, and includes twenty-five cylinder seals from the Late Uruk period to Early Dynastic I, nine Early Dynastic II-III seals, eleven Akkadian and Post-Akkadian, six Neo-Sumerian, eight Old Babylonian, three seals of the second half of the second millennium BC, thirteen Neo-Assyrian and Neo-Babylonian stamp and cylinder seals, three seals of the second half of the first millennium BC, three bullae and a stamp seal of Seleucid date, thirty Sasanian stamp seals, and finally four fragmentary seals of uncertain date. The seals are listed in chronological order by period. The middle chronology has been used for dating.
Not only their function in Ancient Near Eastern daily life makes stamp and cylinder seals an important subject of study, but also their outstanding aesthetic beauty. The examples of stamp and cylinder seals catalogued and described in the present volume are part of the collection of Ancient Near Eastern glyptic art acquired by the Kist family during the last century. The collection consists of hundreds of seals ranging from the fourth millennium Uruk and Jemdet Nasr periods up to the Achaemenid period of the first millennium B.C. The majority of the artifacts are published here for the first time, making the volume into a unique and essential resource for Ancient Near Eastern scholars and art historians.
Exemplars of Kingship conveys the astonishing life of the art of the Akkadian kings by assessing ancient and modern responses to its dynamic forms and transformative ideologies of kingship.
Selves Engraved on Stone explores the ways in which multiple aspects of identity were constructed through the material, visual, and textual characteristics of personal seals from ancient Mesopotamia and Syria in the latter half of the 2nd millennium BCE.
Antiguo Oriente (abbreviated as AntOr) is the annual, peer-reviewed, scholarly journal published by the Center of Studies of Ancient Near Eastern History (CEHAO), Catholic University of Argentina.
A skilled observer and noted scholar of Chinese culture, TsuenHsuin Tsien has contributed profoundly to the West's understanding of the East and vice versa. Having spent six decades as a professor and curator at The University of Chicago, he has been an indispensable resource on a wide range of topics that include Chinese paleography, paper, inkmaking, printing, cultural exchange, libraries, and biographies. Collected Writings on Chinese Culture contains distilled selections from Tsien's major works and journal articles, as well as his Memoir of a Centenarian, which traces Tsien's life from his youth in China through sixty years of scholarship at The University of Chicago. This volume is an excellent companion for anyone familiar with Tsien's work and also a welcome resource for readers unfamiliar with the author's writings and extensive impact within East Asian studies and across all of academia.
The essays in the volume study various aspects of the iconography of cylinder seals from the Akkadian period to the Neo-Assyrian period, from Mesopotamia to Hittite Anatolia. The authors deal mostly with concrete cases, including themes such as warfare, the sacred tree, fish and the god Ninurta. An introduction discusses the problems involved in interpreting iconography with few or no texts, and the volume is opened by a memorial of Henri Frankfort, second Director of the Institute, by his successor J. B. Trapp. The illustrations include a wide range of seal impressions. The book will be of interest to archaeologists and art historians of the ancient Near East, and to comparative iconologists. It was first published in 2006, and quickly sold out (ISBN-10: 0854811354). A limited number of volumes have been reprinted in 2018 for interested specialists (ISBN-13: 978-0-85481-135-9).
This book analyzes the history of Mesopotamian imagery form the mid-second to mid-first millennium BCE. It demonstrates that in spite of rich textual evidence, which grants the Mesopotamian gods and goddesses an anthropmorphic form, there was a clear abstention in various media from visualizing the gods in such a form. True, divine human-shaped cultic images existed in Mesopotamian temples. But as a rule, non-anthropomorphic visual agents such as inanimate objects, animals or fantastic hybrids replaced these figures when they were portrayed outside of their sacred enclosures. This tendency reached its peak in first-millennium Babylonia and Assyria. The removal of the Mesopotamian human-shaped deity from pictorial renderings resembles the Biblical agenda not only in its avoidance of displaying a divine image but also in the implied dual perception of the divine: according to the Bible and the Assyro-Babylonian concept the divine was conceived as having a human form; yet in both cases anthropomorphism was also concealed or rejected, though to a different degree. In the present book, this dual approach toward the divine image is considered as a reflection of two associated rather than contradictory religious worldviews. The plausible consolidation of the relevant Biblical accounts just before the Babylonian Exile, or more probably within the Exile - in both cases during a period of strong Assyrian and Babylonian hegemony - points to a direct correspondence between comparable religious phenomena. It is suggested that far from their homeland and in the absence of a temple for their god, the Judahite deportees adopted and intensified the Mesopotamian avoidance of anthropomorphic picorial portrayals of deities. While the Babylonian representations remained confined to temples, the exiles would have turned a cultic reality - i.e., the nonwritten Babylonian custom - into a written, articulated law that explicity forbade the pictorial representation of God.