A Comprehensive Study Guide to the Standard of Ur

  • Modern Comparison and Symbolism: The Standard of Ur is compared to the emblem of the eagle on the back of the US dollar bill. In that modern emblem, the eagle holds arrows in its talons (symbolizing war) and an olive branch in the other (symbolizing peace). Similarly, the Standard of Ur represents these dual themes of war and peace.

  • Age and Origin: The object is nearly four thousand five hundred years old (third millennium BCE). It originates from the city-state of Ur, which is located in present-day Iraq in the region of Mesopotamia, often referred to as the "birthplace of civilization."

  • Discovery: The object was excavated in the nineteen twenties and early nineteen thirties by the archaeologist Leonard Woolley. It was found within context of sixteen tombs that Woolley designated as "royal tombs."

  • Burial Rituals: Unlike objects buried through the mere passage of time, the Standard of Ur was intentionally buried as part of an elaborate burial ritual. It is considered a fabulously expensive and valuable object due to its intricate decoration and rare materials.

Physical Description and Hypothesized Functions

  • The Problem of the Name: The term "standard" is considered misleading. Historically, a standard refers to a flag or banner brought into battle on a pole. Leonard Woolley hypothesized that the object was originally mounted on a pole for this purpose, but there is no definitive evidence to support this.

  • Alternative Theories of Function:

    • Sound Box: Some historians believe the object served as a sound box for a musical instrument.

    • Currency Container: Others suggest it may have been a box that held important items, possibly even the currency used to pay for warfare.

    • Portability: The object is small enough to be easily carried in one's hands.

  • Structure: The object is decorated on all sides and is divided into three levels, known as registers.

Materials and Evidence of Long-Distance Trade

  • Decorative Components: The object is framed with pieces of shell and features elaborate inlay work. The use of these materials proves that the city-state of Ur was involved in extensive long-distance trade.

  • Specific Materials and Sources:

    • Lapis Lazuli: A blue stone that came from mines located in Afghanistan.

    • Red Stone: A stone that would have been sourced from India.

    • Shells: These were gathered from the gulf located just to the south of what is now Iraq.

Social Hierarchy and Agricultural Surplus in Mesopotamia

  • Agricultural Foundation: The existence of great cities like Ur was made possible by successful agriculture in the river valley between the Tigris and Euphrates. The ability to grow a surplus of food meant that not every citizen had to work in the fields.

  • Specialization of Labor: With surplus food, society could organize into different roles. Some individuals became rulers, while others were artists, artisans, or priests.

  • Visual Hierarchy: The organization of society is represented visually through the three registers of the Standard of Ur. The most powerful and wealthy figures are positioned at the top, while common laborers are placed at the bottom.

The Peace Side: Analysis of the Three Registers

  • Overview: One long side of the object represents a scene of peace and prosperity.

  • Bottom Register: This level depicts figures who appear to be bringing goods to a destination. They are shown carrying items on their backs or across their shoulders, accompanied by various animals.

  • Middle Register: This level shows people leading clearly identifiable animals, such as sheep, rams, bulls, and possibly goats. These may represent a collection of goods for the king, acting as a form of taxation or animals intended for a sacrifice.

  • Top Register:

    • The King: The king is the most important figure. He is depicted using hierarchical scale, meaning he is larger than the other figures—so large that his head breaks through the top pictorial frame.

    • The King’s Attire and Seat: He wears distinct clothing to identify his status. He is seated on a chair with three straight legs and one leg that resembles the leg of an animal.

    • Libation Ceremony: The king is joined by other seated figures, all holding cups. They are participating in a libation, drinking what is speculated to be either beer or wine.

    • Internal Hierarchy: Even among the seated figures, there is a hierarchy. The seated secondary figures are larger than the standing servants who wait on them.

    • Entertainment: On the far right of the top register, two figures provide entertainment. One is playing a harp (an instrument similar to those found in the royal burials), and the other appears to be singing.

The War Side: Analysis of the Three Registers

  • Overview: The opposite side of the object tells a story of warfare and violence, also divided into three registers.

  • Bottom Register:

    • Chariots: There are four war chariots pulled by four male donkeys. Each chariot carries a driver and a warrior.

    • Combat Details: The warrior at the rear of the chariot holds either a spear or an ax. The enemies are shown being trampled by the donkeys or felled by weapons.

    • Artistic Naturalism: There is a sense of naturalistic movement as the donkeys transition from a walk to a canter to a full gallop. Detailed engineering is evident in the rendering of the chariot wheels.

    • Symbolism: While only four dead enemies are shown, they are symbolic of a much larger number of casualties.

  • Middle Register:

    • Infantry: A line of soldiers is shown readied for battle, wearing helmets (similar to physical helmets found in the royal tombs) and full garb. Their regular placement suggests an ordered, disciplined army marching along.

    • The Battle: In the middle of the register, the actual battle is depicted with soldiers slaying their enemies. On the right, capture occurs.

  • Top Register:

    • The Victorious King: The king is again central and larger than the rest, breaking the border of the frame. On the left are his chariot and soldiers.

    • Prisoners of War: On the right, attendants bring prisoners of war to the king. These prisoners are depicted as naked, stripped, wounded, and bleeding to emphasize their humiliation, enslavement, and the king's victory.

Stylistic Conventions and Artistic Techniques

  • Profile vs. Frontal View: Figures are primarily rendered in profile. However, the eye is shown frontally on the side of the face rather than looking forward in perspective.

  • Shoulders and Feet: Similar to Egyptian art conventions, the shoulders are squared with the picture plane, and the feet are shown pushing in one direction rather than being seen in perspective.

  • Legacy of Storytelling: The Standard of Ur demonstrates that the methods humans use to tell stories over time and organize society in the twenty first century share significant commonalities with the practices of the third millennium BCE.

Questions & Discussion

  • Observation on Burial Context: Dr. Beth Harris notes that these objects were part of an "elaborate burial ritual" rather than just being lost to time. Dr. Steven Zucker adds that while much is known, the specific use of the "Standard" remains a mystery, stating, "Again, we really don't know."

  • Discussion on Materials: Dr. Zucker emphasizes the agricultural success of the Tigris and Euphrates rivers: "it was possible to grow a surplus of food that allowed for an organization of society where not everybody had to be in the field all the time."

  • Observation on Artistic Detail: Regarding the war side, Dr. Zucker points out the "extraordinary detail" of the wounds and blood on the felled enemies, as well as the "specific engineering" of the chariot wheels.