Standing Male Worshipper from Tell Asmar발음듣기
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Standing Male Worshipper from Tell Asmar
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(light piano) [Steven] Almost 5,000 years ago somebody carefully buried a small group of alabaster figures in the floor of a temple.발음듣기
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[Beth] And we're looking at one of those figures now and the Metropolitan Museum of Art calls this a standing male worshiper.발음듣기
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[Beth] The temple where these were buried was in a city called Eshnunna in the northern part of ancient Mesopotamia.발음듣기
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[Steven] What is now called Tell Asmar The figures from Tell Asmar are widely considered to be the great expression of early dynastic Sumerian art.발음듣기
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[Beth] At this time, the third millennium BCE, in this area around the Tigris and Euphrates rivers some of the earliest cities in the world emerged and writing emerged.발음듣기
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The cities had administrative buildings, temples, palaces, many of which have been unearthed by archeologists.발음듣기
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[Steven] This is the transitional period right after the Bronze Age, the tail end of the Neolithic when civilizations are founded in the great river valleys around the world.발음듣기
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His wide eyes and his sense of attentiveness are very appealing I think but of course he wasn't meant to be looking at us.발음듣기
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He was meant to be attentive to a statue, a sculpture of a god who was believed to be embodied in the sculpture.발음듣기
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[Steven] In fact, we believe that the person for whom this was a kind of stand-in was also embodied in this figurine.발음듣기
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[Beth] So an elite member of ancient Sumerian culture paid to have this sculpture made and placed before the god to be a kind of stand-in to perhaps continually offer prayers, to be continually attentive to the god.발음듣기
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[Steven] His hands are clasped together, he stands erect, his shoulders are broad so there is a sense of frontality.발음듣기
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You can see that the hair is parted at the center of the scalp and comes down in wavelets or perhaps braids that spiral down and then frame the central beard which is quite formal and cascades down in a series of regular waves.발음듣기
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His shoulders are really broad, his upper arms very broad and then there's very fine incising at the bottom of his skirt.발음듣기
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[Beth] But it's odd to me how cylindrical the bottom part of his body is and how flattened out the torso is.발음듣기
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[Steven] If you look at the face carefully, you can see that the very large eyes are in fact inlaid shell and in the center the pupils are black limestone.발음듣기
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And you can also see that there is an incising of the eyebrows that might have originally been inlaid as well.발음듣기
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In Egyptian culture, the sculptures primarily represent the pharaoh, the king and indicate his divinity but in the ancient Near East instead we have these votive images of worshipers but not so much of the kings.발음듣기
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[Steven] But he does look very humble, his mouth is closed, his lips are sealed together and of course he is wonderfully attentive.발음듣기
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Look at the way that the skirt extends out and attaches itself to the forearms a bit wider than we would expect.발음듣기
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[Steven] If you look at the back of the figure you can see that there is a little cleft that's been carved in horizontally.발음듣기
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[Beth] You understand I think the artist's decision not to make a naturalistic figure because a naturalistic figure before the god might give a sense of someone just visiting, just passing through but this idea of a static, symmetrical, frontal, wide eyed figure gives a sense of timelessness of a figure that is forever offering prayers to the god. (light piano)발음듣기
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