Ashurbanipal hunting lions발음듣기
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Ashurbanipal hunting lions
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출처 : 칸아카데미
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(jazz music) Dr. Zucker: We're in the British Museum in London and we're looking at a series of magnificent low reliefs.발음듣기
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Dr. Harris: These show a very dramatic lion hunt and it's the king of Assyria who is killing the lions.발음듣기
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Dr. Zucker: The Assyrians emerged in Mesopotamia before 1,000 BCE, but increased their power and by the time these reliefs were made in the seventh century BCE, the Assyrians were dominant and really at the height of their civilization.발음듣기
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Ninevah, Nimrud, and Khorsabad. The scenes that we're looking at now are from the royal palace in Ninevah.발음듣기
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Dr. Harris: Assyrian kings decorated their palaces with these low reliefs depicting battle scenes, hunting scenes.발음듣기
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These all speak to the power of the Assyrian kings, but this particular set of reliefs is especially naturalistic and dramatic.발음듣기
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The lions, which were native to Mesopotamia and, actually, a slightly smaller species that is now extinct, were symbols of the violence of nature and the king killing the lions.발음듣기
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The king killing lions was an important symbolic act that spoke of the king keeping nature at bay, keeping his city safe.발음듣기
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Dr. Harris: We can identify the king because of the particular crown that he wears and he's also larger than the other three figures who are helping him to get ready for the hunt.발음듣기
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We see one figure with reigns pulling the horses, two other figures turning in the same direction as the king.발음듣기
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Dr. Zucker: Especially if you look at the musculature of the face, of the eyes. There's tremendous detail.발음듣기
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Dr. Zucker: We can see one of those bridles being tightened and we can see two other figures trying to steady the horses.발음듣기
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All of this is taking place within an enclosed space and we can see other attendants that are holding a barrier of some sort to pen in these animals.발음듣기
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Dr. Harris: Now they're represented below the scene with the king, but we're meant to understand them as being around the king.발음듣기
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We have human figures who, although they're striding forward, there's a formality to their poses, but strangely, a informality, I think, to the horses.발음듣기
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Dr. Zucker: We'll see that also in the representation of the lions, who are represented quite distinctly from the greater sense of formality that the king displays or his attendants display.발음듣기
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Dr. Harris: And at the very top what seems to be a monument to the king, showing itself a relief of a hunt with a king in a chariot slaying lions, so it's a representation of a representation of the hunt.발음듣기
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Figures gesturing in different ways, climbing in different ways, some looking back, some looking forward.발음듣기
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They may be fleeing, they may be trying to grab a better position to watch the hunt from, these may be spectators.발음듣기
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Dr. Harris: Of course, this would have been much easier to read in the palace where the relief was painted.발음듣기
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We can see that the lions will be held in place by a double row of soldiers that have shields and spears and then inside that, to ensure that the lions don't even get that far, there's another row of soliders with mastiffs.발음듣기
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Dr. Harris: And although these figures are represented one on top of one another, we're meant to understand them as being in rows in depth in space.발음듣기
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Dr. Harris: We have to walk to the other end now to see how the lions have entered the arena.발음듣기
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We see another double row of the king's guard and then we see a child releasing a very menacing looking lion into the lion hunt.발음듣기
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Dr. Harris: Wounded, pierced, some on the ground, some leaping up, represented with such sympathy.발음듣기
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There is a lion that was wounded, but is coming back to attack, but his assistants are taking up the rear.발음듣기
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