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
Both figures here (Pl. XV) wear a bracelet on either wrist and two
armlets on their sinewy arms, while a necklace encircles their bull-like
necks. Ashur-naṣir-pal, like all Assyrian kings, has a thick crop of
hair and a very strong beard. Shalmaneser II, his son and successor,
wears much the same dress as his father and the same conical head-gear
(cf. Fig. 44), but Sennacherib one hundred and twenty years later is no
longer content with the simple yet dignified dress of Ashur-naṣir-pal
and Shalmaneser, but assumes a far richer and costlier set of robes (cf.
Fig. 31). The royal mantle is not merely decorated with a fringe but is
most elaborately embroidered throughout, while his crown is also far
more ornate than those worn by his Nimrûd predecessors, but his attitude
is precisely the same as that of Ashur-naṣir-pal in Pl. XV. Both kings
are holding a bow in their left hand and two arrows in their right. The
regal and ceremonial costume of Ashur-bani-pal contrasts similarly with
that of Ashur-naṣir-pal and his immediate successors—his dress
resembling that of Sennacherib in its general ornateness (cf. Pl. XX)
while even the costume which he wears while reclining at meat in his
garden is far more elaborate than that worn by Ashur-naṣir-pal on the
highest ceremonial occasions (cf. Pl. XXI).
Some uncertainty exists regarding the dress-materials used by the
Assyrians. Many garments were doubtless made of wool or woollen stuffs
as in the other period, but a kind of cotton was also used, for
Sennacherib states that he imported trees that bore wool or hair, from
the south, and that the wool or hair was subsequently clipped and
utilized for the manufacture of garments.
There is the same uncertainty as to the materials used in embroidery,
but there is no doubt about the skill of the embroiderer, who must have
been a veritable artist, if we may judge from the bas-relief
representations of his work, a good example of which is reproduced in
Layard, Pl. 9. He clearly did not confine himself to designs but aspired
to artistic representations and scenic effects. Conventional palm-trees,
and four-winged monsters are the most conspicuous features. One of
these monsters is grasping one of the back legs of a lion in either
hand, while the lions are making ruthless attacks on passively resisting
bulls.
Public-domain text, read in full here on John Shaqi.
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