Download Syro-Hittite Monumental Art and the Archaeology of by Alessandra Gilibert PDF
By Alessandra Gilibert
The ceremonial facilities of the Syro-Hittite city-states (1200-700 BC) have been lavishly adorned with large-scale, open-air figurative reliefs - an unique and significantly influential creative culture. yet why precisely did the construction of such an array of enormous photos ever begin? This quantity explores how Syro-Hittite huge paintings was once used as a strong backdrop to big ritual occasions, and opens up a brand new standpoint by means of situating huge artwork within the context of public performances and civic spectacles of serious emotional impression, corresponding to processions, royal triumphs, and dynastic funerals.
Read or Download Syro-Hittite Monumental Art and the Archaeology of Performance: The Stone Reliefs at Carchemish and Zincirli in the Earlier First Millennium BCE PDF
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Additional resources for Syro-Hittite Monumental Art and the Archaeology of Performance: The Stone Reliefs at Carchemish and Zincirli in the Earlier First Millennium BCE
Example text
CARCHEMISH 35 Fig. 10 | Carchemish, Lower Palace Area: the gatehouse at the Great Staircase (after Carchemish III, Pl. 30). the main mound. The fortification wall of the latter may have run at the line of the inner gate jambs (Özyar 1991:96). 78 The upper parts of the gate façade were decorated with polychrome glazed bricks having geometric designs, of which only fragments were found (Carchemish III, Pl. 33). The socle of the outer buttresses, on the other hand, was decorated with basalt slabs carved in high relief (Carchemish 31–37).
It is to be restored upon a row of ashlar blocks at the corner of the outer tower, where it fits exactly (Carchemish II, 93). A twin counterpart at the western corner, which undoubtedly existed, was probably removed in the course of the Hellenistic and Roman building works and lost. The style of Carchemish 2 is identical to that of Carchemish 1 and, in general, to that of the “Karkamis V” sculpture (Orthmann 1971:43), thus is to be dated accordingly. The head and the fore paws of the lion were deliberately removed with heavy hammer blows when the lion was still in its original upright position.
Thus, the gods were represented in the act of approaching the Great Staircase leading up to the citadel. The platform in front of the gods was probably used to perform rituals (cf. Chapter 5). The contents of the “Great Limestone Inscription” (Carchemish 17) provide further important clues for the understanding of the Long Wall of Sculpture, explicitly referring to it and to the circumstances of its erection. The inscription (KARKAMISˇ A1a, Hawkins 2000:88–89) reports how a military leader, Hatamanas, broke into Carchemish, “hacked down” the image of the Storm God Tarhunzas and “overturned” a previous version of the divine procession of the Long Wall of Sculpture (l.