Lamassu from the citadel of Sargon II발음듣기
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Lamassu from the citadel of Sargon II
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(piano music) Ancient Mesopotamia is often credited as the cradle of civilization, that is, the place where farming and cities began.발음듣기
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We're in a room in the Louvre filled with sculpture from the Assyrians, who controlled the ancient Near East from about 1000 BCE to around 500 BCE.발음듣기
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And these sculptures in particular come from the palace of Sargon the 2nd, and we're carved at the height of Assyrian civilization in the 8th century BCE.발음듣기
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So there were palaces at Nimrod and Assur before this, and after there'll be a palace at Nineveh, but these sculptures come from an excavation from modern day Khorsabad.발음듣기
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The most impressive sculptures that survive are the guardian figures that protected the city's gates, and protected the gates of the citadel itself.발음듣기
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So at each of these various gates, there were guardian figures that were winged bulls with the heads of men.발음듣기
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It's interesting to note that each of these Lamassu are actually carved out of a monolithic stone, that is, there are no cuts here.발음듣기
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These are single pieces of stone, and in the ancient world, it was no small task to get these stones in place.발음듣기
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Well, and apparently, there were relief carvings in the palace that depicted moving these massive Lamassu into place.발음듣기
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So it's important to remember that the Lamassu were the gateway figures, but the walls of the palace were decorated with relief sculpture showing hunting scenes and other scenes indicating royal power.발음듣기
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It's decorated with rosettes, and then double horns that come around toward the top center, and then on top of that, a ring of feathers.발음듣기
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First of all, just at the top of the forehead, you can see kind of incised wavy hair that comes just below the crown, and then you have a connected eyebrow.발음듣기
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You see little ringlets on the cheeks of the face, but then as the beard comes down, you see these spirals that turn downward, and then are interrupted by a series of horizontal bands.발음듣기
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And then the wings too form this lovely decorative pattern up the side of the animal, and then across it's back.발음듣기
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In fact across the body itself there are ringlets as well, so we get a sense of the fur of the beast.발음듣기
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What's interesting too is that these were meant to be seen both from a frontal view and a profile view.발음듣기
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Right, two from the front, and four from the side, but of course, one of the front legs overlaps, and so there are five legs.발음듣기
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What's interesting is that when you look at the creature from the side, you actually see that it's moving forward, but when you look at it from the front, those two legs are static so the beast is stationary.발음듣기
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As we approach, we see it still, watching us as we move, but if we belong, if we're friendly, and we're allowed to pass this gate, as we move through it, we see the animal itself move.발음듣기
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And then we have this combination of these decorative forms that we've been talking about with a sensitivity to the anatomy of this composite animal.발음듣기
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His abdomen swells, and his hindquarters move back, and then we can see the veins, and muscles, and bones in his leg.발음듣기
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So there really is this funny relationship between the naturalistic and the imagination of the sculpture.발음듣기
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And the decorative, but all speaking to the power, the authority of the king and the fortifications of this palace, and this city.발음듣기
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