Art Analysis: Gypsum Alabaster

This piece from the Metropolitan Museum of Art, titled, Gypsum Alabaster, is a relief panel from roughly around c. 883-859 BCE. The panel was made in Ancient Mesopotamia during the reign of the Assyrians and was originally on the walls of the Plance of Nimrod almond side of many other relief carvings. The work was carved out from a light-colored stone so the figure protrudes from the work. However, the carving is shallow so the figure only sticks out of the rock slightly. There are several lines of subtle script going horizontal across the tablet. The figure is in the center of the piece, with no details surrounding it. It is a hybrid, with the body of a human and the head of a large-beaked bird. The head is detailed with individual feathers
The masculine figure is also depicted with defined muscles and perfect posture. He is wearing a long garment that is draped over one shoulder and opens in the front. There are two tassels in the front and the trim is heavily decorated. The figure is also wearing many accessories such as a beaded necklace, simple sandals, and bracelets on their wrists. In their left hand, they are holding a bucket, and on their right, they are holding what appears to be a stone. Overall, the depiction of a hybrid human bird in a powerful stance, intricate clothing, and idealized body shows the importance of said figure to the Assyrian people. Texture refers to how the surface of the piece feels, or the feeling it simulates. Texture is important to understanding the value of this art piece and its importance to the Assyrian people. The piece has been carved out of a thick slab of stone. The entire carving has been smoothed down, removing any unnecessary details that could take away from the main figure. The figure has also been meticulously smoothed down to show perfect skin and well-groomed
The lack of a 360-degree view of the body reinforces how the people of this era saw commanding people. However, the carving does have depth to it; the legs are clearly in front of the back of the garment. This indicates that the three-dimensional aspect of the work is still vital and there is a reason it is a carving and not a drawing. Overall, the attention to the size of the carving and the proportions of the being indicate that the Assyrian people wanted to see this frequently and have an easy time understanding the importance of the figure. The attention to detail, overarching and intricate, all add to the influence of this figure and the artwork as a whole. The overall texture of the stone creates a smooth look, without dulling the details. Therefore, there is a lot of care put into making this figure appear clean and distinguished. On top of this, the shallowness of the relief makes it possible to be displayed on walls without the fear of damage. Moreover, this adds to why the piece is a relief carving, and not simply a drawing. There are a lot of elements that go into works of art, such as the Gypsum Alabaster relief carvings, but every little detail is