Ancient Near Eastern Art: The Metropolitan Museum of Art Bulletin, v ...
Ancient Near Eastern Art: The Metropolitan Museum of Art Bulletin, v ...
Ancient Near Eastern Art: The Metropolitan Museum of Art Bulletin, v ...
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Beginning in the early Neolithic period,<br />
representations <strong>of</strong> human figures in<br />
terracotta, stone, or bone were made all<br />
over the <strong>Near</strong> East. We cannot <strong>of</strong>ten tell<br />
whether the figures represent deities or<br />
humans, or if indeed such distinctions<br />
were intended. But by the late fourth and<br />
early third millennia B.C., background scenery<br />
or physical attributes and activities<br />
were included that can sometimes help<br />
us to distinguish gods from men. It is<br />
difficult, however, to tell an ordinary<br />
citizen-a priest or a worshiper, for<br />
example-from a ruler.<br />
In the course <strong>of</strong> the third millennium<br />
B.C. various <strong>Near</strong> <strong>Eastern</strong> states were<br />
engaged in organized trade and imperial<br />
conquest, and then, politically and economically<br />
secure, their rulers began to<br />
have themselves portrayed unambiguously<br />
and sometimes with inscriptions.<br />
<strong>The</strong>y were depicted performing secular,<br />
military, and religious functions, and the<br />
forms employed were statuary in the<br />
round or carvings on cylinder seals and<br />
reliefs, usually in stone.<br />
<strong>The</strong> figures reproduced here are clearly<br />
rulers, identified as such either by inscriptions<br />
or their regal characteristics. Possibly<br />
the earliest is the heavy, almost<br />
solid-cast head (fig. 1), masterfully and<br />
subtly executed to indicate calm dignity<br />
and inherent power. <strong>The</strong> heavy-lidded<br />
eyes, the prominent but not overlarge<br />
nose, the full-lipped mouth, and the intricately<br />
coiffed beard are all so carefully<br />
and skillfully modeled that the head may<br />
well be a portrait, almost certainly <strong>of</strong> a<br />
ruler. If this is a portrait, then the head is<br />
unique among <strong>Near</strong> <strong>Eastern</strong> artifacts.<br />
Some scholars date it to the second<br />
millennium B.C., others to the late third<br />
millennium B.C., which, considering the<br />
style, seems more likely. <strong>The</strong> maker and<br />
the date <strong>of</strong> the piece remain unknown, as<br />
does the identity <strong>of</strong> this king, whose<br />
representation, mute and nameless, nevertheless<br />
remains one <strong>of</strong> the great works<br />
<strong>of</strong> ancient art.<br />
<strong>The</strong> seated stone figure (fig. 2) represents<br />
Gudea (2144-2124 B.C.), the ensi,<br />
or governor, <strong>of</strong> the ancient Sumerian<br />
state <strong>of</strong> Lagash, whose name and title<br />
are included in the long inscription. A<br />
number <strong>of</strong> stone statues <strong>of</strong> Gudea, seated<br />
or standing, were excavated at Tello<br />
(ancient Girsu), in southern Mesopotamia,<br />
while others, presumably from Tello, surfaced<br />
on the art market; many from both<br />
sources are fragmented, lacking heads<br />
or bodies. <strong>The</strong> <strong>Museum</strong>'s Gudea is complete<br />
and depicts the ruler characteristically<br />
dressed in a brimmed hat decorated<br />
with hairlike spirals and a long garment<br />
2<br />
that leaves one shoulder bare. His hands<br />
7