Mesopotamian Archaeology: An introduction to the archaeology of Mesopotamia and AssyriaHandcock, Percy S. P. (Percy Stuart Peache)
History
Mesopotamian Archaeology: An introduction to the archaeology of Mesopotamia and Assyria
Handcock, Percy S. P. (Percy Stuart Peache)
Iraq -- Antiquities
But neither the Babylonian nor the Assyrian sculptors confined their
attention to human beings, any more than did the bas-relief artists.
They also attempted the reproduction of animals, mythical or real as the
case may be, with varying degrees of success. The animal that seems to
have more or less monopolized their artistic capacity in this direction
was the lion. We have already seen the important part played by the lion
in the heraldic arms of Lagash, in the coloured decoration of walls, and
in the bas-reliefs which adorned the interiors of Assyrian palaces, as
well as in the decoration of various objects such as mace-heads and
stone bowls, and we are accordingly not surprised to find examples of
the lion realized in hard stone and worked in the round. The early
specimens are for the most part small, and as a rule only the heads are
preserved. The dates of most of these heads are uncertain as there is
generally no inscription, but fortunately there are some exceptions.
Like the majority of the earlier specimens of Sumerian art, they nearly
all come from Tellô and were excavated by M. De Sarzec. One of the best
preserved is reproduced in Fig. 36, A. Only one side of the lion’s head
has survived, but it is sufficient to demonstrate the success with which
the Sumerian sculptor treated his subject. The arrogance and impassive
majesty of the lion are here realized more impressively than is the case
with the lions of many a European artist; this notwithstanding, the
spirit of conventionalism has already crept in as a thief, though it has
as yet only made its presence felt in the hem of the garment so to
speak. The head itself is entirely unmarred by any deteriorating
influence, but the treatment of the mane is in a measure the victim of
the force of habit, which, in spite of the common saying that it is
“second nature,” is as a matter of fact as unnatural as it can be in its
effect upon art. It is formed somewhat after the pattern of the
“_kaunakes_” material used in the manufacture of early Sumerian
garments.
[Illustration: FIG. 36.—A (_Déc. en Chald._, Plate 24, I); B, C (after
Heuzey).]
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