Ancient Mediteranean

White temple and its ziggurat

Date: 3500-3000 BCE

Location: Uruk Iraq

Medium: mud brick, whitewashed

Form:

• Buttresses create contrasting light and shadow pattern

• Ziggurat tapers downward for rainwater wash-off

• Resembles mountain

• Bent-axis plan

Function:

• Terrace for outdoor rituals, temple for indoor rituals

• Temple is small and set back: only for access by royalty and clergy

• Temple interior contains cella and smaller rooms for deities to assemble

Context:

• Uruk 40,000 person settlement based on agriculture and special labor

• First true city

• First with monumental architecture

• Ziggurat within city

• Deity was Anu- god of sky

• Gods decided from heaven to a high place on earth

• Cosmic orientation

Statues of votive figures

Date: 2700

Location: Eshnunna Iraq

Medium: gypsum inlaid with shell and black limestone

Form:

• Hierarchy of scale

• Hands folding in prayer

• Huge eyes (awe, spellbound, maybe staring at deity)

• Men: belt and skirt

• Women: dress draped over on shoulder

Function:

• Perhaps commissioned by people to have representing them in worship at the temple when they weren’t there

• Inscriptions on back: “it offers prayers” and the like

• Also inscriptions saying the names of the donors or gods

Standards of UR

Date: 2600-2400

Location: Ur (iraq)

Content/ Form:

• Figures have broad shoulders, bodies in profile, twisted perspective

• Emphasis on eyes eyebrows and ears

• Organized in registers

• Reads from bottom to top

• Two sides: war side and peace side

• Early historical narrative

• War side: Summerian king (taller) descended from chariot to inspect prisoners. in lowest register chariots running over dead

• Peace side: food brought in procession to banquet; musician with lyre, ruler wears wool kilt, may have been a victory celebration.

Context:

• Found in tomb at royal cemetery

• Lots of imported products used: lapis lazuli from Afghanistan, shells from Persian gulf, red limestone from India.

Function:

• maybe part of soundbox for a musical instrument

• Maybe placed in pole and carried in procession (not widely accepted)

• Scenes may illustrate duality of Sumerian ruler

Code of Hammarabi

Date: 1792–1750 BCE

Location: Babylon (modern Iran)

Medium: Basalt stele

Content/Form:

• Cuneiform inscriptions covering 300+ laws

• High‑relief carving of Hammurabi receiving laws from Shamash

• Shamash enthroned, hands H a rope, ring and rod- signs of royal power

• Shamash twisted perspective

• Shamash beard fuller than H, illustrating greater wisdoms

• H depicted with speaking gesture

• Rounded top with figural scene; long rectangular body filled with text

Context:

• Babylonian king Hammurabi consolidating power

• Laws publicly displayed to legitimize rule

• Reflects Mesopotamian belief in divine authority

Function:

• Legal code establishing social order

• Demonstrates Hammurabi’s right to rule

• Public monument reinforcing justice and divine kingship

Lamassu from the citadel of Sargon

Date: 720–705 BCE

Location: Dur Sharrukin (Khorsabad, Iraq)

Medium: Alabaster (gypsum)

Content/Form:

• Winged, human‑headed bull or lion

• Five legs: stable from front, striding from side

• Stylized, patterned hair and beard

• Monumental scale; carved in high relief

• Context:

• Guarded the gates of Sargon II’s palace

• Assyrian empire emphasizing military strength

• Protective supernatural beings common in Mesopotamian art

• Function:

• Apotropaic guardian protecting palace and king

• Symbol of royal power and divine protection

• Impress and intimidate visitors entering the citadel

Audience Hall of Darius and Xerxese

Date: 520–465 BCE

Location: Persepolis, Iran

Medium: Limestone

Content/Form:

• Massive hypostyle hall with 72 columns

• Reliefs of tribute bearers from across the empire

• Processional imagery showing harmony among subject nations

• Animal combat motifs on stairways

• Context:

• Built by Darius I, expanded by Xerxes I

• Ceremonial capital of the Achaemenid Empire

• Used for New Year festivals and royal receptions

• Function:

• Demonstrate imperial wealth and unity

• Space for receiving dignitaries and tribute

• Architectural propaganda reinforcing Persian authority