Assyrian art

“ And yet this art which is so masterly in some respects is very primitive and naïve in others. We cannot help being amazed, for instance, at the wide band of wedges that the scribe has been allowed to cut across all the lines and contours left by the sculptor. This proceeding is to be explained, of course, by the essentially historical and anecdotic character of Assyrian art, but nevertheless it betrays the contempt for æsthetic effect which is one of the characteristics of archaic art in Assyria. ”

“ Not only is Assyrian art valuable as disclosing the genesis of Hellenic, but yet more so as filling up a vacant chapter in the history of aesthetics. The divine calm and mysterious immensity of Egyptian sculpture was not more foreign to the Greek than the stiff unspirituality and coarse vigour of the Assyrians, which found in the lion an appropriate symbol. But the Assyrian artists did not confine themselves to architecture and bas- reliefs. Gem-cutting was carried to high perfection, and even sitting statues of "the great king" were attempted. ”

“ The reign of Assur-bani-pal marks the third and last period of Assyrian art. Drawing has made a rapid advance, and the sculptures furnish several instances of successful foreshortening. The art of this period is distinguished by great softness and chaste- ness ; vegetable forms are represented with admirable skill, and the overcrowding of the preceding stage is avoided by recurring to the plain backgrounds of the first period, or introducing merely the main outlines of a landscape. At the same time, it is clear that Assyrian art is beginning to decline ”

“ Of all the Assyrian works of art which have come down to us, by far the most important are the bas-reliefs. It is here especially, if not solely, that we can trace progress in style; and it is here alone that we see the real artistic genius of the people. What sculpture in its full form, or in the slightly modified form of very high relief, was to the Greeks, what painting has been to modern European nations since the time of Cimabue, that low relief was to the Assyrians—the practical mode in which artistic power found vent among them. ”

“ The discovery of the arch, of glass, and of the pulley, among the mines, evince the high antiquity of these inventions, which have been supposed to be of comparatively modern origin; and the very remarkable fact that the most ancient among the Assyrian works of art are by far the best executed, lead to the conviction that there is an unwritten ancient history of far greater extent and interest than that which has been preserved. All that portion of history which relates to the origin and rise of Assyrian art of course remains unknown. ”

“ Assyrian art is no longer a puzzling phenomenon. Like the Egyptian art of the Theban epoch, it was preceded by a realistic and naturalistic, an inquisitive, simple-minded, and single-hearted art, which had faithfully studied the human form and had thus created one of the original styles of antiquity, a style, perhaps, in which Greece at its first beginning found the most useful lessons and the most fertile suggestions. ”

“ Indeed, it may be said that solidity and realism underlie all Assyrian art. Muscular strength and power of an intensely earthly and human nature is expressed in their bas-reliefs and the colossal bulls that guarded the palace from the entrance of evil spirits. Nowhere else in the world can we find such an embodiment of brute force and unimaginative energy. ”

“ In all the remains of Assyrian art there is no trace of playful humour, of the light-hearted gaiety that is so conspicuous in more than one Egyptian monument. In the subordinate parts of some of the reliefs from the Sargonid period we find certain groups and scenes belonging to what we should call genre, but neither here, nor in the bronzes, nor in engraved gems, nor even in the terra-cottas, do we find anything that approaches caricature. The comic element, without which no representation of life can be faithful and complete, is entirely wanting. ”

“ No one can give a very satisfactory account of Assyrian painting; but, judging from the little of it which remains, and from the immense number of Assyrian sculptures which exist, we may conclude that the chief aim of Assyrian artists was to represent each object they saw with absolute realism. The Dutch painters were remarkable for this trait and for the patient attention which they gave to the details of their work, and for this reason Oppert has called the Assyrians the Dutchmen of antiquity. ”

“ With no attempt to idealize or go beyond nature, there is a growing power of depicting things as they are—an increased grace and delicacy of execution, showing that Assyrian art was progressive, not stationary, and giving a promise of still higher excellence, had circumstances permitted its development. ”

“ How different and how much less favourable were the conditions under which the Assyrian sculptor exercised his art! For him the contours of the body and the attachments of the limbs were hidden behind heavy tunics covered with embroidery, and shawls often folded double. If by chance he caught a passing glimpse of the forms beneath, to what use could he put it? Two or three at the most of the divine types upon which his skill was most frequently employed involved a very partial nudity; most of the gods, and nearly all the men, were draped. ”

“ The remains of Assyrian painting are so few that they scarcely serve any other purpose than to prove that the Assyrians were accustomed to decorate their walls with pictures. Sometimes the walls were prepared with plaster, and the designs were painted on that; in other cases the painting was done upon the brick itself. The paintings on plaster were usually on the inner walls, and many of these which have been discovered during the excavations have disappeared when exposed to the air after their long burial from the sight and knowledge of the world. ”

“ For in every epic worthy of the name the marvellous occupies an important place, while in these reliefs it scarcely has a place at all. With few exceptions the belief in a superior and divine world makes itself felt in Assyrian art only in those effigies of gods and demons we have already described. And such images have their places rigidly fixed by tradition; they stand at the palace gates, but are scarcely ever found within its saloons, and are entirely absent from the marches, battles, and sieges. ”

“ Art, so far as we know, had existed previously only in the stiff and lifeless conventionalism of the Egyptians. It belonged to Assyria to confine the conventional to religion, and to apply art to the vivid representation of the highest scenes of human life. War in all its forms—the-march, the battle, the pursuit, the siege of towns, the passage of rivers and marshes, the submission and treatment of captives, and the “mimic war” of hunting the chase of the lion, the stag, the antelope, the wild bull, and the wild ass, are the chief subjects treated by the Assyrian sculptors ”

“ Assyrian sculpture was for the most part in relief. The Assyrians carved badly in the round, unlike the Babylonians, some of whose sitting statues are not wanting in an air of dignity and repose. But they excelled in that kind of shallow relief of which so many examples have been brought to the British Museum. We can trace three distinct periods in the history of this form of art. The first period is that which begins, so far as we know at present, with the age of Assur-natsir-pal. ”

“ There are no dead or beaten Assyrians. If we may believe the artist, the kings of Nineveh won all their battles without losing a man!
The hunting scenes are arranged with more judgment. In certain respects we might place them in the same class as the great reliefs from Nimroud. By right of their dignity and breadth, the latter must be considered the masterpieces of Assyrian sculpture, but these later works can boast an amount of energy and vitality and a truthfulness of handling that are worthy of no stinted praise. ”

“ Very few traces of this talent or disposition are to be found in the monuments of Mesopotamia. Of course in a draped school of sculpture we could hardly expect to find any great preoccupation with the various beauties of the human body. Given the Assyrian costume, it was impossible that the Assyrian artist should aspire to bring out those beauties. In many works from the Nile valley the influence of the sex, the age, and even the profession upon the development of the muscles, upon, if we may be allowed the expression, the physiognomy of the flesh, is skilfully shown in the modelling. ”

“ In respect to Assyrian art, indeed to the history of art in general, a new world has thus been opened, which promises to be fruitful of instruction especially when we consider that the ground out of which the recent acquisitions have been obtained, has been yet most imperfectly examined, and may be expected to yield a much ampler harvest hereafter, assuming circumstances tolerably favorable to investigation. ”

“ But even if we look upon this relief as a faithful sketch from an Armenian temple we shall still believe that it reproduces a type not unknown to Assyrian art. Everything combines to prove that the inhabitants of the mountainous countries situated to the east and north of Assyria had no original and well-marked civilization of their own during any part of the period with which we are now concerned. Just as Ethiopia borrowed everything from Egypt, so the Medes and Armenians drew both their arts and their written character from Chaldæa, by way of Assyria. ”

“ The general object of these bas-reliefs was to commemorate the king’s victories over his enemies and his conquests in the chase, rather than to produce a purely æsthetic effect. In other words they are pictorial records rather than artistic products, and that fact is further borne witness to by the cuneiform texts with which they are generally inscribed. At the same time however, they afford material for the study of Assyrian sculpture. The art of sculpture in Assyria suffered all the drawbacks which befall every art once it becomes professionalized ”

“ A final defect of Assyrian art is the almost total absence of woman from its creations. In Chaldæa we found her in the small bronzes and in a few clay figures; the canephorus with bare arms and bust, the nursing goddesses who bear a child in their arms or who press their breasts with their open hands, will be remembered, but it would seem that such subjects were treated only in figures of very small dimensions. ”

“ On examining somewhat attentively the Assyrian sculptures, it is easy to satisfy oneself that the art of the Assyrian sculptor moved within limits traceable from its origin, viz., embroidered work, allowance being made for certain alterations of style, caused by the requirements of a new material. ”

“ Assyrian mimetic art consists of statues, bas-reliefs, metal-castings, carvings in ivory, statuettes in clay, enamellings on brick, and intaglios on stones and gems.
Assyrian statues are comparatively rare, and, when they occur, are among the least satisfactory of this people’s productions. They are coarse, clumsy, purely formal in their design, and generally characterized by an undue flatness, or want of breadth in the side view, as if they were only intended to be seen directly in front. ”

“ With very few exceptions, faces and figures are drawn in profile. But with all this want of skill, the work is often striking from the spirit with which it is executed, and the naturalness with which animals, more especially, are depicted. A bas-relief representing a lion-hunt of Assur-natsir-pal has been often selected as a typical, though favourable, illustration of the art of this age.
The second period extends from the foundation of the Second Assyrian Empire to the reign of Esar-haddon. The artist has lost in vigour, but has compensated for it by care and accuracy. ”

“ The highest perfection of Assyrian art is in the third period, which extends from B.C. 667 to about B.C. 640. It synchronizes with the reign of Asshur-bani-pal, the son of Essarhaddon, who appears to have been contemporary with Gyges in Lydia, and with Psammetichus in Egypt. The characteristics of the time are a less conventional type in the vegetable forms, a wonderful freedom spirit, and variety in the forms of animals, extreme minuteness and finish in the human figures, and a delicacy in the handling considerably beyond that of even the second or middle period. ”

“ The Assyrian invented nothing. His language and his writing, his religion and his science, came from Chaldæa, and so did his art. When the kings of Resen, of Calech, and Nineveh, took it into their heads to build palaces, they imported architects, painters, and sculptors, from the southern kingdom. Why, it may be asked, did those artists remain so faithful to the traditions in which they had grown up when they found themselves planted among such different surroundings? ”

“ The Persians could the more easily forego the revetment of their walls with carved slabs, after the Assyrian fashion, as their architecture itself, far more than that of Mesopotamia, fulfilled its own aim,—accomplished with its own means what was elsewhere effected by sculpture and painting.
With Persian statues in the full round we have no acquaintance. Several examples remain of colossal monsters in the half round, like those met with in Assyrian sculpture. In conception and in detail, in proportion and in situation, they scarcely differ from those of Assyria: they are only somewhat stiffer ”

“ Only that Assyria did not escape, any more than Egypt, from the action of that law of change which is the very condition of life; that from one century and one reign to another the taste and execution of the Assyrian sculptors were modified, though in a very feeble degree. Thus figures are shorter and more thickset in the north-western palace at Nimroud than at Khorsabad or Kouyundjik; they are finer in their proportions, more graceful, and altogether better in their art under Assurbanipal than under his grandfather, the founder of the dynasty. ”