The Statue of Ebih-Il, circa 2400 BC; gypsum, schist, shells and lapis lazuli; 52.5 cm high, 20.6 cm wide; found by André Parrot at the Temple of Ishtar (Mari, Syria); Louvre
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The art of Mesopotamia has survived in the record from early hunter-gatherer societies (8th millennium BC) on to the Bronze Age cultures of the Sumerian, Akkadian, Babylonian and Assyrian empires. These empires were later replaced in the Iron Age by the Neo-Assyrian and Neo-Babylonian empires. Widely considered to be the cradle of civilization, Mesopotamia brought significant cultural developments, including the oldest examples of writing.
The art of Mesopotamia rivalled that of Ancient Egypt as the most grand, sophisticated and elaborate in western Eurasia from the 4th millennium BC until the Persian Achaemenid Empire conquered the region in the 6th century BC. The main emphasis was on various, very durable, forms of sculpture in stone and clay; little painting has survived, but what has suggests that, with some exceptions,[1] painting was mainly used for geometrical and plant-based decorative schemes, though most sculptures were also painted. Cylinder seals have survived in large numbers, many with complex and detailed scenes despite their small size.
Mesopotamian art survives in a number of forms: cylinder seals, relatively small figures in the round, and reliefs of various sizes, including cheap plaques of moulded pottery for the home, some religious and some apparently not.[2] Favourite subjects include deities, alone or with worshippers, and animals in several types of scenes: repeated in rows, single, fighting each other or a human, confronted animals by themselves or flanking a human or god in the Master of Animals motif, or a Tree of Life.[3]
Stone stelae, votive offerings, or ones probably commemorating victories and showing feasts, are also found from temples, which unlike more official ones lack inscriptions that would explain them;[4] the fragmentary Stele of the Vultures is an early example of the inscribed type,[5] and the Assyrian Black Obelisk of Shalmaneser III a large and well preserved late one.[6]
^Frankfort, 124-126
^Frankfort, Chapters 2–5
^Convenient summaries of the typical motifs of cylinder seals in the main periods are found throughout in Teissier
^Frankfort, 66–74
^Frankfort, 71–73
^Frankfort, 66–74; 167
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