The use of color on early Mesopotamian sculpture

Researchers using ultraviolet-visible spectroscopy have discovered ancient Mesopotamian art, like classical art of Greece and Rome, was often brightly colored although studies have shown the number of colors used appears to be limited to shades of red and black.  

"Red pigments consist almost entirely of haematite, black is either bitumen or a carbonized product. White is almost non-existent (white lead, gypsum), apart from rare cases where it is used as color lightener for the skin. We did not find either blue or green. It is difficult to judge whether this lack reflects an ancient reality or not. On statues, as well as in most wall paintings, pigments were hardly ever mixed. This seems to be a conscious choice, as mixing pigments is not technically difficult." - Astrid Nunn, Adjunct Professor for Near Eastern Archaeology (retired) at the University of Würzburg.

However, scholars noted distinct shifts in color intensity over time.  Skin color in the third millennium was depicted as orange, yellowish brown, red brown, and brown but in the second millennium, there was a general change to bright red and red brown.  By the first millennium, skin color became notably darkened.

Reading this, I couldn't help but wonder about any correlation between changes in skin tone depictions and recorded migrations and conquests by different groups.  However, Professor Nunn does not mention any studies of that nature.  However, she does point out that skin color was derived from a combination of realism mixed with artistic conventions and social determinants, which in turn are subject to symbolic meaning.

This is further complicated by the ancients descriptions of color including textures and other characteristics.

"Taking the materiality of colors (and not simply their hue and chroma) as a starting point enables us to understand why ancient terms that are translated as dazzling, shining, lustrous, brilliant and translucent, or, inversely, dark, poorly lit, dim and dull, must be considered a – positive or negative – color category," Nunn observes. "In Akkadian literature, red on the body, especially on the face, was very positive...However, in Sumerian and Akkadian texts, gods (in particular the sun god Utu), heroes and kings sport beards referred to as lapis lazuli. Thus these words also mean bright and shiny. Despite the reference to lapis lazuli (blue) being conceivable, the shininess of the beard was just as important as its hue."

Of course I have seen objects such as the bull-headed lyres recovered from the royal cemetery of Ur, dated to 2550-2450 CE, with beards literally made of lapis lazuli so describing beards in this way could have been quite precise if the statues of the gods were thought to represent the gods themselves.

Surprisingly, researchers found that even sculpture crafted of expensive, imported stone like diorite was often painted over, despite the lustrous beauty of the stone itself.

Read more about it:  https://www.asor.org/anetoday/2021/05/mesopotamian-sculpture 

 

Millenium, Gypsum, that I photographed at University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia

Reconstructed color on the statue of a man with similar garment now in the Staatliche Museen zu Berlin, courtesy of Astrid Nunn.

Bull-headed lyre recovered from the royal cemetery of Ur, Iraq, 2550-2450 BCE, Gold, with Lapis Lazuli beard that I photographed at University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia

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First Look - Mesopotamia: Civilization Begins at the newly reopened Getty Villa

 Today's featured "Antiquities Alive" virtual exhibit - The first batch of images from my friend Allan Gluck of the "Mesopotamia: Civilization Begins" exhibit at the newly reopened Getty Villa: 

Head of a God, Neo-Sumerian, 2150-2000 BCE, Terracotta, now in the collections of the Louvre, courtesy of Allan Gluck

Head of a Man, possibly a ruler, Sumerian, 2700-2600 BCE, Limestone, now in the collections of the Louvre, courtesy of Allan Gluck

Head of a ruler, Amorite, about 1840 BCE, Gabbro, now in the collections of the Louvre, courtesy of Allan Gluck

Bronze model of a chariot, Sumerian, 2900 - 2340 BCE, now in the collections of the Louvre, courtesy of Allan Gluck

Plaque with King Gilgamesh killing the monster Humbaba, Amorite, 2000 - 1600 BCE, terracotta, now in the collections of the Louvre, courtesy of Allan Gluck

Relief fragment with royal chariot and officers, Neo-Assyrian, 668-627 BCE, Gypsum, now in the collections of the Louvre, courtesy of Allan Gluck

Statuette of a high-status woman, Neo-Sumerian, 2150-2000 BCE, Chlorite, now in the collections of the Louvre, courtesy of Allan Gluck

Statuette of a high-status woman, Neo-Sumerian, 2150-2000 BCE, Chlorite, now in the collections of the Louvre, courtesy of Allan Gluck

Statuette of a bull, Proto-urban, about 3000 BCE, black limestone, now in the collections of the Louvre, courtesy of Allan Gluck

Statuette of a dog dedicated to the goddess Ninisina, Amorite, 1894-1866 BCE, Steatite, now in the collections of the Louvre, courtesy of Allan Gluck

Statuette of a dog dedicated to the goddess Ninisina, Amorite, 1894-1866 BCE, Steatite, now in the collections of the Louvre, courtesy of Allan Gluck

Statuette of a dog dedicated to the goddess Ninisina, Amorite, 1894-1866 BCE, Steatite, now in the collections of the Louvre, courtesy of Allan Gluck

Statuette of a high-status woman, Akkadian or Neo-Sumerian, 2200-2000 BCE, Alabaster with traces of pigment, now in the collections of the Louvre, courtesy of Allan Gluck

Statuette of a human-headed bull, Neo-Sumerian, 2150-2000 BCE, Chlorite, now in the collections of the Louvre, courtesy of Allan Gluck

Statuette of a woman holding a branch, Sumerian, about 2450 BCE, alabaster, now in the collections of the Louvre, courtesy of Allan Gluck

Statuette of a woman holding a branch, Sumerian, about 2450 BCE, alabaster, now in the collections of the Louvre, courtesy of Allan Gluck

Statuette of the demon Pazuzu, Neo-Assyrian, 934-610 BCE, Bronze, now in the collections of the Louvre, courtesy of Allan Gluck

Wall painting fragment with a man's head, Neo-Assyrian, 850-650 BCE, painted clay, now in the collections of the Louvre, courtesy of Allan Gluck

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Mesopotamia: Civilization Begins exhibit now open at the Getty Villa in Pacific Palisades, California

The Getty Villa has reopened and is now hosting the special exhibit "Mesopotamia: Civilization Begins."  Some of the objects are from the Metropolitan Museum of Art in New York.  Others are on loan from The Louvre and the Bibliothèque Nationale de France. Ancient Mesopotamia, centered in present-day Iraq, occupies a unique place in the history of human culture. It is there, around 3400–3000 BC, that all the key elements of urban civilization first appear in one place: cities with monumental infrastructure and official bureaucracies overseeing agricultural, economic, and religious activities; the earliest known system of writing; and sophisticated architecture, arts, and technologies. For some three thousand years, Mesopotamia remained the preeminent force in the Near East. In 539 BC, however, Cyrus the Great captured Babylon and incorporated Mesopotamia into the Persian Empire. Periods of Greek and Parthian rule followed, and by about AD 100 Mesopotamian culture had effectively come to an end. 

Closeup of a Head of Prince Gudea, Ruler of Lagash, Neo-Sumerian 2120 BCE, Diorite, that I photographed at the Santa Barbara Museum of Art in Santa Barbara, California. The sculpture of this prince at the Getty exhibit is from the Metropolitan Museum of Art in New York.

Elamite Head of a Ruler Iran (?) 2300-2000 BCE Arsenical copper that I photographed at the Metropolitan Museum of Art in New York. The headdress seems related to Elamite works of southwestern Iran and resembles another bronze head of the late third millennium BCE found at Nineveh.

Although you will see a statuette of a Neo-Sumerian human-headed bull dated 2150-2000 BCE from The Louvre at the exhibit, this is an image I took of a very similar sculpture at the Metropolitan Museum of Art in New York. It is identified as Kursarikku associated with the sun god Shamash Reign of Ur-Ningirsu of Lagash 2150-2100 BCE, crafted of Serpentine. This serptentine (lizardite) sculpture is from southern Mesopotamia, probably Tello (ancient Girsu). The inscription proclaims the sculpture is dedicated to the goddess Nanshe for the life of the Sumerian ruler Ur-Ningirsu.

Statuette of the Demon Panzuzu, Neo-Assyrian, 934-610 BCE Bronze now in the collections of The Louvre, image courtesy of the museum

Plaque with King Gilgamesh killing the monster Humbaba, Amorite, 2000 - 1600 BCE, terracotta, now in the collections of the Louvre, image courtesy of the museum

Statuette of a dog dedicated to the goddess Ninisina, Amorite, 1894-1866 BCE, steatite, now in the collections of The Louvre, image courtesy of the museum.

Wall fragment with a man's head, Neo-Assyrian 850-650 BCE now in the collections of The Louvre, image courtesy of the museum.

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Iron Age III gold cuirass fragments from Northwestern Iran, 8th-7th centuries BCE

In 2015, I had the opportunity to photograph artifacts in the Smithsonian's Sackler Gallery of Asian Art.  In it, I found this spectacular fragment of a gold breastplate dating to the Iron Age III period. Other fragments of this breastplate are today in the Cincinnati Art Museum and in the Royal Ontario Museum in Toronto. Fragments from a second gold breastplate found in the burial mound near the village of Ziwiye are in the Metropolitan Museum of Art and in the National Museum in Teheran.

"This is a fragment from the lower part of a much larger pectoral, or breastplate, made of sheet metal and embellished with figures and ornament arranged in horizontal bands. A breastplate shielded the chest from arrows or other weapons. The decoration on this example consists of mythical guardian creatures, whose images were believed to provide magical protection for the wearer."

"A pectoral made of thin sheet gold, like this one, would have been attached to a sturdier material, probably leather. Given the fragility and cost of the material and its intricate decoration, the pectoral may have been fashioned specifically for ceremonial use or burial equipment."  - Sackler Gallery, Smithsonian, Washington D.C.

"This plaque, perforated around the edge, was perhaps once attached to a garment of a wealthy lord or to the shroud of a prince. Its design is similar to contemporary art of Assyria, Urartu, and Scythian-style objects. The plaque was originally composed of seven registers decorated in repoussé and chasing; two were separated and are now in the collection of the Archaeological Museum, Tehran. The registers display the familiar composite creatures of the ancient Near East striding in groups of three toward a stylized sacred tree, the central motif. The human-headed, winged lion, seen in the first and third register, is a creature that also appears as a gate guardian on the doorjambs in the palace of Ashurnasirpal II at Nimrud. A sphinx struts along the second band, followed by winged lions and an ibex. The bodies of the fantastic creatures are composed of unusual combinations of animal and bird parts: in the uppermost register, the lions sport ostrich tails, while in the second, their tails are those of scorpions. The trees of life bear pomegranates, pine cones, and lotus flowers. Each scene is framed and separated by a delicate guilloche pattern." - Metropolitan Museum of Art, New York.

Closeup of the Iron Age III gold cuirass fragment from Northwestern Iran that I photographed at the Sackler Gallery of the Smithsonian in Washington DC.

Iron Age III gold cuirass fragment from Northwestern Iran that I photographed at the Sackler Gallery of the Smithsonian in Washington DC.

Another Iron Age III gold breastplate found in the same burial now in the Metropolitan Museum of Art in New York

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Product Branding in Ancient Mesopotamia

Apparently, advertising logos were developed much earlier than most people thought!

"David Wengrow, [archaeologist at University College London], claims that bottle stops used 5000 years ago in ancient Mesopotamia, the birthplace of cities and writing, were stamped with symbols that marked them out as the earliest evidence of branded goods.

Wengrow believes that they were promotional logos, along the lines of those used by Microsoft and Nike.

He said that around 8000 years ago, village-dwelling Mesopotamians started making personalised stone seals, which they pressed into the caps and stoppers used to seal food and drink.

Originally these marked commodities would have been traded directly with neighbours and travellers, reports New Scientist magazine.

But they turned into brands when urbanisation began in Mesopotamia - a little over 5000 years ago - when traders encountered more strangers and city residents increasingly had to deal with products of uncertain origin.

Wengrow said the symbols in caps and stoppers came to play an important role in telling people about the quality and origins of products such as oils and wine.

Many stoppers have been found in the ancient city of Uruk, now in southern Iraq, where some 20,000 people lived 5000 years ago.

The symbols impressed on their surfaces are the first images in human history to be mechanically mass produced, said Wengrow..." If you enjoyed this post, never miss out on future posts by following me by email!

Bata Shoe Museum Offers Glimpse of Footwear from Antiquity

I have never heard of this Canadian museum or these unique ancient vessels!

"The Bata Shoe Museum has several examples of a very rare and unusual artifact from the ancient Near East, ceramic containers made in the shape of boots with upturned toes.

These ceramic boot vessels appear geographically from northwestern Iran to central Turkey between the years 1800 – 800 BCE.

They can also be compared to contemporary booted pouring vessels from the same regions, and later boot-shaped amphora of the Greeks and Etruscans.

Footwear had many symbolic meanings in the ancient world as is indicated in literary, legal and religious texts. In Mesopotamia, shoes were evoked in both curses and blessings, and the Bible describes the use of footwear as a legal symbol of ownership.

Some of the few clearly archaeologically excavated examples of ceramic boot vessels come from what appear to be funerary contexts, suggesting a deeper ritualistic purpose for them. "
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More protests over looted antiquities - this time from Iraq

"One of Britain's leading universities is embroiled in an embarrassing row over hundreds of treasures looted from Iraq.

Found scattered around ancient Mesopotamia, the Aramaic incantation or devil bowls were placed upside down in homes during the sixth to eighth centuries to trap evil spirits. The spells, and information such as the names of the home owners, are not found in any other source. One collection contains the earliest examples of the Bible in Hebrew.

Since the first Gulf War in 1990, Iraq has been a looters' paradise... So when University College London came into possession of 654 "devil" bowls, the biggest collection in the world, loaned from a private collector, suspicions were raised.

The bowls belong to Martin Schoyen, a Norwegian collector of ancient scripts. He bought them in London from a Jordanian who claimed they had been in his family for generations.

UCL set up a committee of inquiry which found that "on the balance of probability" the bowls had, somewhere along the line, been looted from Iraq.

At this point Mr Schoyen sued UCL for their return. Legally his claim is sound, because he has held title for seven years. What has dismayed academics, however, is that the inquiry report was suppressed as part of the out-of-court settlement.

Professor Colin Renfrew, a fellow at Cambridge University and a member of UCL's committee of inquiry, is angry that the settlement said the report should be withheld. A world expert in ancient treasures, Lord Renfrew said UCL had no choice but to return the collection.

"Even if the bowls were looted it is likely that Mr Schoyen, as a good-faith buyer, could have good title to them. Even so there is a good ethical case for their return to Iraq," he said.

"UCL tried to do the right and ethical thing by setting up a committee of inquiry. Then, when threatened with a lawsuit, in my view, it gave way under pressure. How has the largest known collection of incantation bowls been in Jordan for 70 years and nobody knew about it?"

Once again, it looks like politics and capitalism have triumphed over academics and moral responsibility.

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