Ashurnasirpal Ii

whole One Assignment Ashurnasirpal II I prepargon levyed into the rook of the bang-up Ashurnasirpal II, and am approaching the tin mode to await my meeting with the might. In front of me are two Lamassu figures that guard the entrance, Colossal statue of a move lion from the North-West Palace of Ashurnasirpal II (Fig. 1). I am direct in awe of the sheer size of this pair of sculptures, they each have a bun in the oven over ten feet pontifical, towering over individuals who would give care to enter the throne room. The pair is enormous and intimidating as they are approached. When I st art-off advance I cipher this combination of man, lion, and bird front everyy.I notice the tall lions chest and huge paws. These elements show the strength of the wolf and are representative of the effect of Ashurnasirpal II and his conglomerate. The body of the lion is adorned with the face of a man, which signifies the intelligence that the tycoondom possesses. The face wears the t raditional beard of the king, and the traditional horned crown indicating the divinity of the king. Associating the king and his domain with the all-powerful gods, shows the connection with absolute power of the divine with the total power of the empire (Reade).Making my way around to the profile view of the statue I continue to mind the monolithic body of the lion, and now see the beautiful feathered wing. The intricate incidents and mannequin of the wing are impressive. The travel represent the stop number of the ruler (Reade). From the view I see all four legs of the lion, the artificer uses the idea of close informative viewpoint, to give an accurate view of the most important aspects of the creature from e really angle. From the side the lion appears to be striding forward, mayhap symbolizing aggressiveness (Hedin).The similes of the elements from each animal are not lawful to scale. The overall size of the nibble is untold larger than the animals and human depict ed. The wings are much larger than that of some(prenominal) bird, the body larger than any lion, and the human head far bigger than any human. What is interesting is the proportion of these elements as they relate to each other. They are of equal importance, the wing is in force(p) now as large as the body of the lion, and the human head is just as tall as the height of the torso.This shows the equal importance of strength, intellect, and swiftness to the power of the king. This piece focuses on the importance of human and animal anatomy, and shows how sophisticated artistically this society has become (Atac). There is elaborate attention to detail in the hairs of the beard. This same detailed carving is replicated in the intricate feathers of the wing. The repeat emphasizes the importance of the bearded king figure. Visually I am pinched to the elaborate design in these elements on such a massive statue.The cuneiform shows that this culture is educated and values literacy enou gh to include it indoors its art. The engraved writings record ideas ab out Ashurnasirpal II and are maybe meant to immortalize him within this permanent art piece. As I enter the throne room, I notice an interesting succour located direct tin can the throne of Ashurnasirpal II, Stone relief from the throne room of Ashurnasirpal (Fig. 2). This piece is understandably important in depicting elements about the king, because it is so prominently displayed.The throne room is the area of the palace where the king addresses the public and this room would often hold audiences of people who have come to see the king (Cohen). I find it rattling interesting that Ashurnasirpal II is as tall as the entire relief itself, alone the god figure that is shown is much smaller in comparison to each of the king. The Assyrian empire does not overtop the people that they conquer to convert to their religion, but most certainly subscribe to their new subjects to pledge allegiance to Ashurnasirpa l II (Mackenzie).Perhaps the larger scale of the king represent which loyalty is more important. The symmetry in this piece is very important. Directly in the middle is situated a date medal tree which is the lifeblood of this culture (Hedin). On either side of the plant Ashurnasirpal II is shown, in fact, each figure appears twice in this relief. This repetition save emphasizes his importance, but also shows a sort of dichotomy and balance in his power. Each figure is shown from most informative view point.Both images of the king, I see his legs in profile, but his upper body is turned to show two shoulders completely and the actions of each build. On the right side the king is guardianship a mace, which I recognize as a weapon with a heavy top that could be used to beat enemies. The gestures of each form of Ashurnasirpal II seem extremely important. The figure on the left side is motioning towards the tree, and associating the king with the abundance of the land. As if it i s the king who has brought great prosperity to this shade (Reade).This theme seems to be repeated with the winged protector figures standing behind each representation of Ashurnasirpal II. These figures are ritualistically blessing the king, and reiterating his intense connection with the gods. This relief seems to be stressing that all that is good in the Assyrian empire is because of Ashurnasirpal II himself and that the gods have provided this righteous ruler for the people (Reade). I make my way out the throne room, towards the temple of Ishtar Sharrat-niphi. Here I can see a life sized statue of Ashurnasirpal II, Statue of Ashurnasirpal II (Fig. ). The statue is in the goddess Ishtars temple to incite her of the piety of the king. I notice that there are no project appendages or any outreaching elements of this statue, but that it is one warm mass of magnesite (Reade). The solid appearance of this portrait symbolizes the secure and stable king and empire. The complex patter n on the beard of the king points out the importance of the beard. The beard clearly symbolizes masculinity, but perhaps it also implies wisdom and power. The size of the beard on this statue is very large in comparison to the rest of the face.It is geometric and structured, but with beautiful ornate detailing. Ashurnasirpal II is shown with the sickle in his right hand, and with the mace in his left hand. The arms are not symmetrical in form, but the rest of the statues shape is. The sickle is the weapon that in mythology, the gods used to fight monsters. The mace is shown again, similarly to the depiction of him in the relief, as a weapon that represents authority. Both objects have divine association, which echoes the god like authority that Ashurnasirpal II has over the empire.I find it interesting that he is lifting his arm that holds the mace, perhaps as though he is about to actively us this weapon. Again I see cuneiform used in the art of this culture. Across the chest of th e statue of the king, there are etchings that announce the accomplishments of the king as well as his genealogy (Reade). Included in these writings are the recent invasions of surrounding villages. This is clearly just another way to hold back and boast about not only the power of the Assyrian empire, but the power of Ashurnasirpal II himself.All of the statues and reliefs that I have observed throughout the royal palace seem to reaffirm the importance and power of Ashurnasirpal II. Many of these works were created by the initiate for the initiate (Atac). The content was intended for the audience who would see it in its original form, all of the pieced mentioned have a similar purple. It would be very difficult to not understand the message that the king is sending with all of the decoration. That the king is of divine power and possess the greatest influence over all of the land of Assyria.