Making pictures of war : : Realia et Imaginaria in the iconology of the ancient Near East / / edited by Laura Battini.

• TeilnehmendeR: Battini, Laura,
• Place / Publishing House: Oxford : : Archaeopress Publishing Ltd,, [2016]; ©2016
• Year of Publication: 2016
• Edition: 1st ed.
• Language: English
• Physical Description: 1 online resource (xii, 88 pages) :; illustrations

This book brings together the main discussions that took place at an international conference on the iconology of war in the ancient Near East, a subject never addressed at an international meeting before.

Table of Contents

• Front Cover
• Title Page
• Copyright Page
• Contents
• List of Figures
• Abbreviations and General References
• Abbreviations
• References
• Acknowledgments
• Dedications
• Introduction: the War and its Representations
• References
• Some Observations on the War Scenes on the Seals from Mari City II
• Dominique Beyer*
• The seals of King Ishqi-Mari
• References
• The seal of Shakkanakku Iddin-Eshtar
• Some Observations on the War Scenes on the Seals from Mari City II
• Figure 1.1: Schematic Diagram of the North Part of P-1 with the Positions of the Sigillographic Finds.
• Figure 1.2: Door Seal with Imprints of Version a of Ishqi-Mari's Seal.
• Figure 1.4: Graphic Reconstruction of the Imprint of Version a.
• Figure 1.5: Door Seal with Fragmentary Imprints of Version b of Ishqi-Mari's Seal.
• Figure 1.7: Fragmentary Imprint: Upper Section of Version b.
• Figure 1.8: Fragmentary Imprint: King Ishqi-Mari (Version b) .
• Figure 1.9: Graphic Reconstruction of the Imprint of Version b (2007) .
• Figure 1.10: Graphic Reconstruction of the Imprint of Version b: New Version.
• Figure 1.11: Door Seal with Fragmentary Imprints of Iddin-Eshtar's Seal.
• Figure 1.13: Graphic Reconstruction of the Imprint of Iddin-Eshtar's Seal.
• Elements Of War Iconography At Mari
• Costumes and weapons
• Costumes and weapons from City II (DA III-b)
• Costumes and weapons from City III
• Heavy equipment: harnesses
• Frame
• The figure of the vanquished enemy
• Graphic vocabulary: components of the military apparatus
• by Béatrice Muller*
• Elements of iconographic syntax
• Soldier and prisoner
• Clues about a military hierarchy from shell inlays
• The axe, the javelin and the bow
• Warriors and the image of the victorious King in the Old Babylonian period
• Overall compositions and significance - the place of Mari in war iconography.
• Overall composition of the mosaic shell panels: new paths
• Mari and the modalities of the royal victory iconography in the Old Babylonian period
• Conclusion
• References
• Elements Of War Iconography At Mari
• Figure 2.1: Inlaid mother-of-pearl from the Temple of Ninni-zaza (Mari, City II) : helmeted soldiers. H. average 4.5-5cm. a - Parrot 1952: fig. 66. b - Drawing of a selection of parts. Parrot 1967: 209-214, fig. 252-254 (cf. pl. LXIII).
• Figure 2.3: Terracotta stamped plaques from the Great Royal Palace (Mari, City III) : soldier with a long weapon (spear?) and an axe. a - M. 768, room 62 (near the Throne Room 65, official sector M). Parrot 1959: fig. 55 et cf. pl. XXIX. b - M. 1073, cour
• Figure 2.4: Fragments of mural painting from room 220' (sector F: royal private apartments on the first floor) of Great Royal Palace (Mari, City III). a - M. 4596 : archer standing at rest. H. 31cm. Gouache J. Depauw, © MAM, slide A. Parrot. b - M. 4592 :
• Figure 2.5: Fragments of mural painting from the West wall of the Court 106 (official sector M) of the Great Royal Palace (Mari, City III) : figure of victorious King (module 1, restored h. c.1.60m). Parrot 1958: fig. 35 and 36. a - Elements of garment wi
• Figure 2.6: Graffiti engraved with a point on plaster (juss) of a wall of room 52 (sector H, chambers of the staff belonging to the Women's House) of the Great Royal Palace (Mari, City III) : soldiers. Parrot 1958: fig. 13 and 14. a -  Bearded and helmete
• Figure 2.7: Piece of inlaid mother-of-pearl from space 4 of the pseudo-Palace (Mari, City II) : deck tank showing a pair of engraved reins in its upper indentation
• the lower edge curved leaves room for the installation of a wheel. H. 6.8cm. Never publis.
• Figure 2.8: Piece of inlaid mother-of-pearl from space 20 (square) south of the Temple of Ishtar (Mari, City II) and belonging to the Standard: fragmentary wheel associated with the box of a chariot on whose step the legs of a soldier brace themselves. To
• Figure 2.9: Miniature registry of fragmentary mural paintings from room 220' (sector F: royal private apartments on first floor) of Great Royal Palace (Mari, City III). a - Head caped with a polos blue and white striped. (M. 4587) at the corner of a brick
• Figure 2.10: Piece of inlaid mother-of-pearl M. 2477 from room 13 of the temple of Ninni-zaza (Mari, City II) : Kneeling prisoner. H. 7cm. Parrot 1952: fig. 67.
• Figure 2.11: Pieces of Standard from space 20 (square) south of the temple of Ishtar (Mari, City II). A - bust of the military dignitary M. 474 in situ, yet in connection with the background and border, while the bottom of the garment is visible above on
• Figure 2.12: Fragment of the panel inlaid from the passage 52/49 of the pseudo-Palace of City II, level P-1: helmeted soldier pushing a prisoner (M. 4785 and M. 4793) and wearing clothes of this one on the top of his javelin which is pointed downward. H.
• Beyer in Margueron 2004: fig. 506-2 and cf. Amiet 1960: fig. 12
• Parrot 1959: 189-191.
• Figure 2.13: Contour of warrior M. 471 (temple of Ishtar, Standard) by comparison with the previous figure.
• Figure 2.15: Restitution drawing of the impression of a seal known from different clay door-lock sealings from the Great Royal Palace (Mari, City III) inscribed with the name of Mukannishum, intendant of the palace: the King hits a standing enemy with his.
• Figure 2.16: Modern impression of the seal of Ana-Sin-taklâku. A lot of his sealings (especially of jars) were found in the Great Royal Palace (Mari, City III): the King, surrounded by deities and holding an harpè tramples an enemy. H. 2.7cm. Louvre AO 21
• Figure 2.17: Iconographic and architectural restitution of paintings of room 220', south wall, of the Great Royal Palace (Mari, City III). H. 3.50m c., L. 14.75m. Margueron et al. 1990: fig. 11.
• Figure 2.18: Fragments of wall painting on coating of juss from the court 106 of the Great Royal Palace (Mari, City III) : presentation panel conceived by B. Muller and realized after restoration by CEPMR/CNRS (Centre d'Etudes de Peintures Murales Romaine
• Figure 2.19: Restitution drawing of the impression of the seal (n° 1) of Ishqi-Mari from different sealings discovered in room 11 of the pseudo-Palace (Mari, City II) : battle and banquet celebrating victory. Beyer 2007: fig. 17. Scale 2: 1.
• Visualizing War in the Old Babylonian Period: Drama and Canon
• Figure 3.1: Victory Stele of Eannatum. From Tello. Early Dynastic period. Louvre Museum (after Forest 1996: 222).
• Visualizing War in the Old Babylonian Period: Drama and Canon
• Victories and Defeats: The Sedimentation of War Experiences
• by Silvana Di Paolo*
• 'Inscribing' the War on the Bodies between Aberrations and Tangible Signs
• The Power of Symbols: the 'Canon' of Naram-Sin
• References
• Figure 3.2: Victory Stele of King Dadusha of Eshnunna. From Tell Asmar. Old Babylonian period. Baghdad Museum (after Ismail and Cavigneaux 2003: pl. 34)
• (after Orthmann 1975: 325, pl. 247)
• Figure 3.3: Neo-Assyrian bas-relief. From Nineveh. North Palace, Room S. Reign of Ashurbanipal. British Museum
• Figure 3.4: Cylinder seal. Newell Collection. Old Babylonian period (after von der Osten 1934: pl. 14: 155).
• Figure 3.5: Cylinder seal. Moore Collection. Old Babylonian period (after Eisen 1940: pl. 7: 60)
• Figure 3.6: Victory Stele of Naramsin. Akkadian period. Louvre Museum (after Orthmann 1975: 196, pl. 196)
• Figure 3.7: Terracotta Plaque. From Kish. Old Babylonian Period. Baghdad Museum (after Moorey 1975: pl. 23a)
• Middle Assyrian Drama in depicting war: a Step towards Neo-Assyrian Art
• Figure 4.1: Pyxis lid from Assur (Berlin, Vorderasiatische Museum, VA7989), 13th s. BC. Source: Matthiae 1997: 32.
• Middle Assyrian Drama in depicting war: a Step towards Neo-Assyrian Art
• The grammar of Middle Assyrian depictions of war
• by Laura Battini*
• Outline of a syntax
• Relationships with the Iron Age
• References
• Figure 4.2: stone Cult Pedestal of Tukulti-Ninurta I. Source: Matthiae 1997: 31-32.
• Figure 4.3: stele from Suse (Louvre, Sb 7). Source: Matthiae 2000: 52.
• Figure 4.4: Hunt seals Source: Harper et alii 1995: 65-66, fig. 26
• Invernizzi 1992 : n° 310.
• Figure 4.5: Broken Obelisk of Assur-bel-kala (11th century BC), from Nineveh. Source: Matthiae 1997: 33.
• Figure 4.6: Old Babylonian terracotta representing the epiphany of god (Philadelphie, Penn Museum, Y.B.C. 10.035). Source: Opificius 1961: n° 399.
• Figure 4.7: Urban settings of Kar-Tukulti-Ninurta and Dur-Sharrukin. Source: original setting.
• "Losing One's Head". Some Hints on Procedures and Meanings of Decapitation in the Ancient Near East
• "Losing One's Head". Some Hints on Procedures and Meanings of Decapitation in the Ancient Near EastMeus
• by Rita Dolce*
• The act of decapitation
• The act of displaying
• Destinations of the SH: some pieces of evidence
• The moving SH
• References
• Abstract
• Key words:
• Figure 5.1: Neo-Assyrian bas relief.
• Figure 5.2: Detail of the Stele of Vultures (IIIrd mill. BC).
• Figure 5.3: Example of paintings from Catal Höyük.