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The art of Akkad (24 - 23 centuries BC) Development of realistic tendencies.

The Naramsin stela, 2 m high, made of red sandstone, tells the story of the victory over the mountain tribes. What is new is the unity and clarity of the composition, which develops diagonally. There are no more "belts" dividing the image. A landscape appears. Arms, legs, shoulders, body proportions are well modeled. The turn of the shoulders in a profile depiction of the head and legs and the conventional different scales of the figures of the king and warriors remain canonical.

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The so-called head of Sargon the Ancient from Nineveh. Copper. 23rd century BC e.

Sharp, harsh realistic power in the rendering of the face, with lively, expressive features, a carefully executed rich helmet.

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Art of Assyria (9th-7th centuries BC)

Upper reaches of the Tigris. Mountainous terrain, harsher climate. Fortress cities: Ashur, Nineveh, Dur-Sharrukin. The power is secular. The building material is stone. Dur-Sharrukin. Erected by King Sargon II.712-707. BC. Strict layout, the main building is a palace-fortress on a high platform. The stairs lead to the arched gate. The ziggurat is part of the palace complex.

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Colors of the palace ziggurat Statue of walking at the entrance to the palace. (5 legs. Height more than 3 m.)

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The main decoration of the interiors of Assyrian palaces are bas-reliefs. They are distinguished by naturalism and narrative, which is historical in nature, and the absence of registers. The wounded lioness. A fragment of a relief from the palace of King Ashurbanipal in Nineveh. 669-635 BC

Art of Sumer and Akkad

White Temple and Ziggurat at Ur. Reconstruction. XXI century BC e.

Bronze head from Nineveh. XXIII century BC e.

Adorant statue. III millennium BC e.

Statue of the dignitary Ebih-Il from Mari. Ser. III millennium BC e.

Standard of Ur. Around 2600 BC e.

Statue of Gudea, ruler of Lagash. XXI century BC e.

Art of the Old Babylonian Kingdom

Stele of King Hammurabi from Susa. XVIII century BC e.

Queen of Darkness. Relief. 1800-1750 BC e.

Art of Assyria

Art of Assyria

Winged bull with a human head. VIII century BC e.

Winged guardian genius. VIII century BC e.

Hero taming a lion. VIII century BC e.

Wounded lioness. Relief of the palace of Ashurbanipal in Nineveh. VII century BC e.

Stele with the goddess Ishtar. VIII century BC.

Art of the Neo-Babylonian Kingdom

Etemenanki Ziggurat. Reconstruction. VI century BC e.

Tiled wall cladding of the throne room of the palace of Nebuchadnezzar II from Babylon. VI century BC e. Fragment

Gate of the goddess Ishtar from Babylon. VI century BC e. Reconstruction

Art of the Achaemenid Empire

Art of the Achaemenid Empire

Tomb of Cyrus II the Great in Pasargadae. Around 530 BC

Gate of all nations in Persepolis. 520-460 BC e.

Relief of the entrance staircase to the palace of Darius I in Persepolis. 520-460 BC e. Fragment

Sphinx. Relief of the palace in Persepolis. V century BC e.

Gold earring. V century BC e.

Golden Cup. V century BC e.

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Art of ancient Western Asia

The territory of Western Asia includes several natural zones: Mesopotamia (the valley of the Tigris and Euphrates rivers), which the Greeks called Mesopotamia; the Asia Minor Peninsula with its adjacent mountainous regions; eastern coast of the Mediterranean Sea, Iranian and Armenian highlands. The peoples who inhabited this vast region in ancient times were among the first to found states and cities, invent the wheel, coins and writing, and create wonderful works of art. The art of the peoples of ancient Western Asia at first glance may seem complex and mysterious: plots, techniques for depicting people or events, displaying spatio-temporal relationships - all this was based on the specific ideas and beliefs of ancient people. Any image contains additional meaning that goes beyond the plot. Behind each character in a wall painting or sculpture there is a system of abstract concepts - good and evil, life and death, etc. To express these concepts, artists resorted to the language of symbols, which is not so easy for a modern person to understand. The history of art in the countries of ancient Western Asia, which began at the turn of the 4th-3rd millennium BC. e. in Southern Mesopotamia, developed over several millennia.

Art of Sumer and Akkad

White Temple and Ziggurat at Ur. Reconstruction. XXI century BC e. During the Akkadian period there appears new form temple - ziggurat. The ziggurat is a stepped pyramid with a small sanctuary on top. The lower tiers of the ziggurat, as a rule, were painted black, the middle tiers red, and the upper tiers white. The shape of the ziggurat obviously symbolizes the stairway to Heaven. During the Third Dynasty, the first ziggurat of colossal size was built at Ur, consisting of three tiers (with a base of 56 x 52 m and a height of 21 m). Rising above a rectangular foundation, it was directed to all four cardinal directions. Currently, only two floors of its three terraces have survived. The walls of the platforms are tilted. From the base of this building, at a sufficient distance from the walls, a monumental staircase with two side branches begins at the level of the first terrace. At the top of the platforms was a temple dedicated to the moon god Sin. The staircase reached the very top of the temple, connecting the floors with each other. This monumental staircase responded to the desire for the gods to take an active part in worldly life.

Bronze head from Nineveh. XXIII century BC e. The bronze head from Nineveh embodies the new achievements of Akkadian jewelers. The monument depicts a monarch with characteristic Semitic features (a long curly beard and hair tied in a bun).

Adorant statue. III millennium BC e. Beautiful examples of Sumerian sculpture created at the beginning of the 3rd millennium BC have survived to this day. e. A very common type of sculpture was the so-called adorant - a statue of a praying person with his hands folded on his chest, sitting or standing. Using the example of this statue, the characteristic features of Sumerian sculpture are clearly visible. The character's legs are very strong and are depicted parallel on a round base.

Statue of the dignitary Ebih-Il from Mari. Ser. III millennium BC e. The style of the sculpture workshops in Marie is reminiscent of refined sculpting from soft clay. A typical example is the statue of the dignitary Ebih-Il from Mari. The dignitary's face is illuminated with a soft smile, huge eyes look attentively and intensely, his chin is clearly separated from his chest. All the details are carefully executed, especially in the clothes, which are a skirt of sheep's wool with strands cut out individually or tufts of a beard with curly ends. The arms are softly carved, the muscles are hidden.

Standard of Ur. Around 2600 BC e. “Standart of Ur” consists of two inclined panels connected by slats. It was found by archaeologist Leonard Woolley in the 1930s. in one of the royal tombs of Ur. Its purpose is unknown. Woolley suggested that this item was worn on a pole (like a standard), hence its name. According to another theory, the Standard of Ur was part of musical instrument. One panel of the standard depicts scenes of peaceful life, the other - military actions. The War Panel represents one of the earliest depictions of the Sumerian army. War chariots, drawn by four onagers each, pave the way, trampling the bodies of enemies; foot soldiers in cloaks are armed with spears; enemies are killed with axes, prisoners are led naked to the king, who also holds a spear in his hands. The "Peace Panel" depicts a ritual feast. Processions bring animals, fish and other food to the feast. Seated figures dressed in fringed skirts drink wine to the accompaniment of a musician playing the lyre. Scenes of this kind are very typical of cylinder seals of that time. World panel Mosaic of mother-of-pearl, shells, red limestone and lapis lazuli. War panel

Statue of Gudea, ruler of Lagash. XXI century BC e. Gudea, ruler of the independent kingdom of Lagash, is known for his piety and the construction of numerous temples dedicated to various gods. The statue contains a dedication to the god, as well as a list of temples built by Gudea, the last on the list is the temple dedicated to the god Ningirsu, where, in fact, the statue stood.

Art of the Old Babylonian Kingdom

In 2003 B.C. e. The kingdom of Sumer and Akkad ceased to exist after the army of neighboring Elam invaded its borders and defeated the capital of the kingdom - the city of Ur. Period from XX to XVII centuries. BC e. called Old Babylonian, because the most important political center of Mesopotamia at this time was Babylon. Its ruler Hammurabi, after a fierce struggle, again created a strong centralized state in this territory - Babylonia. The Old Babylonian era is considered the golden age of Mesopotamian literature: scattered tales about gods and heroes merged into poems. The epic of Gilgamesh, the semi-legendary ruler of the city of Uruk in Sumer, is widely known. Few works of fine art and architecture from that period have survived: after the death of Hammurabi, Babylonia was repeatedly invaded by nomads, who destroyed many monuments. Art of the Old Babylonian Kingdom

Stele of King Hammurabi from Susa. XVIII century BC e. The two-meter stele, called the Code of Hammurabi, contains 282 laws written in a series of 20 columns. At the top of the stele there is a relief image of King Hammurabi standing before the sun god Shamash. Shamash, seated on the throne, with tongues of flame escaping from his shoulders, presents Hammurabi with the attributes of royal power. The king, dressed in a simple tunic that leaves one shoulder bare, listens to the god, raising one hand in a sign of respect. Both figures look directly into each other's eyes.

Queen of Darkness. Relief. 1800-1750 BC e. The relief plate is made of baked clay mixed with straw. The figure of the naked beauty was originally painted red. On the woman's head is a horned headdress, typical of Mesopotamian deities. She holds sacred symbols in her hands - a rod and a ring. Her colorful wings point downwards, indicating that she is the goddess of the underworld. Her legs end in paws bird of prey, very similar to the paws of two owls sitting on either side of her.

Art of Assyria

Assyria is a powerful, aggressive state, whose borders in its heyday stretched from the Mediterranean Sea to the Persian Gulf. The Assyrians brutally dealt with their enemies: they destroyed cities, carried out mass executions, sold tens of thousands of people into slavery, and deported entire nations. At the same time, the conquerors paid great attention to the cultural heritage of the conquered countries, studying the artistic principles of foreign craftsmanship. Combining the traditions of many cultures, Assyrian art acquired a unique appearance. At first glance, the Assyrians did not strive to create new forms; all previously known types of buildings are found in their architecture, for example, the ziggurat. The novelty lay in the attitude towards the architectural ensemble. The center of the palace-temple complexes became not the temple, but the palace. A new type of city appeared - a fortified city with a single strict layout. Art of Assyria

Winged bull with a human head. VIII century BC e. Winged bulls with human heads were guardian geniuses called shedu. The shedu was installed on the sides of the city gates or passages to the palace. Shedu were symbols that combined the properties of humans, animals and birds and, therefore, were a powerful means of protection against enemies.

Winged guardian genius. VIII century BC e. Guardian geniuses are mythological creatures who guarded people or buildings and drove away evil spirits from them. This winged genius, together with the one who stood opposite him, guarded the gates of the palace of Sargon II in Dur-Sharrukin (modern Khorsabad, Iraq). The genius blessed everyone who passed by him, sprinkling water from a pine cone. Both geniuses stood behind two winged bull-men who were also guarding the gate. The colossal figure of the winged genius is shown from the front up to the waist and in profile below the waist.

Hero taming a lion. VIII century BC e. The motif of lion taming was part of a complex architectural and decorative system. It symbolized divine and royal power; the power emanating from the image protected the palace and extended the reign of the monarch.

Wounded lioness. Relief of the palace of Ashurbanipal in Nineveh. VII century BC e. This small panel was part of an extensive composition depicting the royal lion hunt. The realism with which the artist depicted the wounded animal is amazing.

Stele with the goddess Ishtar. VIII century BC. The stela depicting the goddess Ishtar is an excellent example of provincial art of the Assyrian Empire during its heyday. Ishtar, one of the favorite characters in the art of ancient Western Asia, was revered as the goddess of love and war. The headdress has the shape of a cylinder and is crowned with a disk with rays, which recalls that Ishtar personifies the planet Venus.

Art of the Neo-Babylonian Kingdom

The Neo-Babylonian kingdom, especially its capital Babylon, experienced many ups and downs. The history of Babylonia is an endless series of military conflicts, from which it did not always emerge victorious. The struggle with Assyria was especially dramatic. In 689 BC. e. the Assyrian king Sennacherib (705-680 BC) destroyed and flooded Babylon, brutally dealing with its inhabitants. Sennacherib's son Esarhaddon rebuilt the city, however, suppressing the anti-Assyrian uprising in 652 BC. e., repeated his father’s crime. Only after Assyria ceased to exist was Babylonia able to occupy a dominant position in Western Asia. A brief period of its heyday occurred during the reign of Nebuchadnezzar II (605-562 BC). Babylon became one of the richest and most beautiful cities in Mesopotamia, a political and religious center. There were over fifty temples in the city. Babylonian culture continued the traditions of the Sumerian-Akkadian period. Art of the Neo-Babylonian Kingdom

Etemenanki Ziggurat. Reconstruction. VI century BC e. According to the Old Testament, the inhabitants of the city of Babylon decided to build a tower to heaven. However, God did not allow them to carry out this plan, mixing the languages ​​of all nations, so that they ceased to understand each other. The biblical Tower of Babel has a very real prototype - the ziggurat of Etemenanki in Babylon. The ancient Greek historian Herodotus wrote that the ziggurat is “a massive tower, one hundred and eighty meters long and wide. Above this tower there is another, above the second - a third, and so on, until the eighth. . The ascent to them is made from the outside, it goes in a ring around all the towers. Having risen to the middle of the climb, you find a place with benches to rest: those climbing the tower sit down to rest here. There is a large temple on the last tower.

Tiled wall cladding of the throne room of the palace of Nebuchadnezzar II from Babylon. VI century BC e. Fragment Nebuchadnezzar II built a huge palace in Babylon with the hanging gardens of Queen Semiramis, which the Greeks considered one of the seven wonders of the world. The throne room of the palace is the best preserved; its walls were decorated with superbly stylized glazed bricks. At the bottom of the wall there was a frieze with lions; in the center there were columns decorated with scrolls forming floral friezes; the columns were framed on all four sides by borders with floral patterns.

Gate of the goddess Ishtar from Babylon. VI century BC e. Reconstruction The ruins of the gate of the goddess Ishtar have survived to this day; these gates had a special meaning for the Babylonians - from them the Processional Road led past the Temple of Marduk, along which solemn processions took place. At the end of the 19th - beginning of the 20th centuries. German archaeologists dug up a large number of fragments of the city wall, using which they were able to completely restore the historical appearance of the Ishtar Gate, which was reconstructed (in full size) and is now exhibited in the State Museums of Berlin.

Gate of the goddess Ishtar from Babylon. VI century BC e. Reconstruction

Art of the Achaemenid Empire

The Persians and Medes - tribes of Indo-European origin who inhabited Iran - were first mentioned in the Assyrian chronicles of the 9th century. BC e. In 550 BC. e. the Persian king Cyrus II the Great (558-530 BC), who came from the Achaemenid dynasty, overthrew the Median king and annexed Media to his state. In 539 BC. e. The Persian kingdom subjugated Babylonia in 525 BC. e. - Egypt, then spread its influence to the cities of Syria, Phenicia, Asia Minor and turned into a gigantic empire. At the same time, the conquerors did not destroy the cities, showing tolerance to the traditions, religion and culture of the conquered peoples. The dominance of Persia in the east lasted about two hundred years and was crushed only in 331 BC e. during the eastern campaign of Alexander the Great. It was not easy for the Median and Persian masters to find an independent path in art, since they were surrounded by works of more ancient and vibrant cultures than their own. Studying and borrowing other people's traditions, they nevertheless managed to create their own artistic system, which was called the “imperial style.” Achaemenid art was courtly, intended to symbolize and glorify the power and greatness of the state and royal power. Art of the Achaemenid Empire

Tomb of Cyrus II the Great in Pasargadae. Around 530 BC The love for everything grandiose and magnificent, characteristic of Achaemenid architecture, is absent in funerary structures, which were erected with the utmost modesty. In Pasargadae, the tomb of Cyrus II has been preserved - an austere structure eleven meters high, which vaguely resembles a Mesopotamian ziggurat.

Gate of all nations in Persepolis. 520-460 BC e. The original element of Achaemenid art is the column, which was widely used in all types of buildings. Initially, the columns were made of wood, and then covered with plaster and painted. Subsequently, in Persepolis, a stone column with a grooved shaft was used. The most original part of the Achaemenid column is the capital - the carved bodies of two animals, usually bulls, dragons or man-bulls, protrude half out of it.

Relief of the entrance staircase to the palace of Darius I in Persepolis. 520-460 BC e. Fragment

Sphinx. Relief of the palace in Persepolis. V century BC e. The sphinx depicted on the relief was the deity guarding the supreme Persian god Ahura Mazda, whom Darius I “raised to the rank” of a royal god. The divine essence of the sphinx is indicated by its headdress, decorated with horns.

Gold earring. V century BC e. Metalworking was the type of art in which the Achaemenid craftsmen achieved the most outstanding success. True virtuosos with delicate taste, they made luxurious multi-colored jewelry, weapons, decorations, tableware and other purposes. Jewelry with inset precious stones was very common, like this gold earring with inlays of turquoise, carnelian and lapis lazuli.

Golden Cup. V century BC e. Metalworking was the type of art in which the Achaemenid craftsmen achieved the most outstanding success. True virtuosos with delicate taste, they made luxurious multi-colored jewelry, weapons, decorations, tableware and other purposes. Jewelry was often decorated with images of animals. A typical vessel of the era was a horn-shaped vessel with the lower end shaped to resemble the upper body of an animal, such as this golden goblet, demonstrating the luxury and splendor that surrounded courtly life.

"The Art of Egypt"- Since time immemorial, the ancient Egyptian civilization has attracted the attention of all mankind. The pharaoh was deified during his lifetime and bore the title “son of the Sun.” There were several sarcophagi inside one another. Ra. Conclusion. Amon. The most important place in the religion of Ancient Egypt was occupied by the funeral cult. This is how the custom of mummifying the bodies of the dead arose.

"Asian Culture"- Mesopotamia. Cappadocia. Ramp. Stela of King Naramsin (XXIII century BC). art. IV – I millennium BC. Standard from Ur (3rd millennium BC). Head of the goddess Ishtar from Uruk (3rd millennium BC). Artistic culture of Ancient Western Asia. The gods created man. Gate of the goddess Ishtar (4th century BC).

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"Culture of the Ancient East"- By the end of the 4th millennium BC. A new civilization arose in the Nile Valley. Culture of Ancient Mesopotamia. Contents of the work: Monuments of Egyptian literature. Hieroglyphs are one of three ways to write Egyptian words. The oldest writing in the world is the invention of the Sumerians. The Epic of Gilgamesh. Writing. Literary monuments Ancient East.

"Nefertiti"- Nefertiti was truly a beauty. Nefertiti means "The Beauty Who Came." Other images of Nefertiti. Nefertiti lived in the state of Egypt more than three thousand years ago. Almost a hundred years ago this sculpture was found. The image of Nefertiti can be seen on many jewelry. Temple of Nefertiti, Egypt.

"Philosophy of Ancient China"- Bonsai is not just a miniature tree in a flat container. 2. 7. The East is a delicate matter. Chokkan. 1. Bonsai forms. Kengai. You will learn that... Bonsai is unique... 6.

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