Formal Analysis: the Cylinder Seal and the Ashurbanipal Hunting Lions

Formal Analysis: The Cylinder seal and The Ashurbanipal hunting lions The purpose of this paper is to examine the differences and similarities between early Akkadian and Assyrian art forms by comparing two figural sculptures, the Cylinder Seal (Ca. 2254 – 2193 BCE) and the Ashurbanipal hunting scene (Ca. 645 – 640 BCE). Due to cultural and periodical differences, it is unavoidable to find varying mastery of techniques, negotiated objects or subjects being depicted in the sculptures. These art works, however, are very similar with respect to their overall purpose and the manner by which early artists represented sacred persons or deities in general. And these commonalities go beyond time and provide a coherent and invariable view of Mesopotamian art and culture. As will be discussed in the succeeding paragraphs, both figural sculptures highlight the conquering power of the king and the deity, and suggest that the virtue of the higher being is to successfully protect the empire from its enemies. About 5’4” high, the Ashurbanipal hunting lion can be traced back during the reign of King Ashurbanipal (Ca. 645-640) of the Neo-Assyrian Empire. The Cylinder Seal, on the other hand, is much smaller (about 4.2 cm by 2.5 cm) and older (during the reign of Naramsin, Ca. 2254 – 2153 B.C.). These two figures, however, are very similar in terms of how they portray the king and the deity. It should be noted that both sculptures successfully portray the presence of higher beings without using the hierarchy of scale. In the Ashurbanipal hunting lion sculpture, symbols such as the headdress, the sword, and jewels suggest the royal status of the king. Similarly, the Cylinder seal uses wings with weapons, and the helmet with multiple horns to highlight Ishtar’s ultimate divinity. Using a combination of perspectives, the sculpture also suggests that Ishtar’s divinity is absolute and supreme; the ‘less’ important goddess who, by raising her hands, worships Ishtar is placed in strict profile whereas Ishtar is depicted in composite view. Both figural sculptures also underscore the power of the king and the deity through their ability to defeat or tame the beast. Ashurbanipal hunting lions, however, places more emphasis on the beasts than the Cylinder Seal does. While the lion in cylinder seal is positioned in strict profile and is merely a manifestation of Ishtar’s prominence and power, the lions in Ashurbanipal hunting scene are compassionately rendered in composite views. In this relief, the beasts, wounded yet determined and willing to fight the king’s army, almost remind the viewers of the strong and daring protagonist in a tragedy. Such emotional rendering of the lions makes the king, bravely going forward towards the beast, the center and apex of power and audacity. This concept embodies the Assyrians’ belief that their empire would stay undiminished under the protection and guidance of a powerful ruler. Finally, both sculptures seem to suggest that conquering power is the virtue of the king and the absolute divinity. The lions in the Ashurbanipal hunting represent the enemies of the Assyrian Kingdom. This particular scene appears to suggest that it is crucial for the ruler to remain strong and bold when fighting the enemies of the empire. In the Cylinder Seal, Ishtar also seems to convey the same message. In the sculpture, weapons on her wings are the part and parcel of the goddess’ body, suggesting her war-like nature. By depicting Ishtar as a belligerent deity, the Akkadians seemed to have hoped that the goddess would protect their empire from various threats, especially from neighboring kingdoms. Ashurbanipal hunting lions relief sculpture and the Cylinder seal are works of arts situated at the distant ends of the Mesopotamian spectrum. Even though these sculptures are from two different cultures in two different time periods, they still have many similarities that resonate throughout the Mesopotamian culture. It should be noted that, with respect to the overall purpose and the manner by which early artists represented sacred persons and deities, both sculptures embody Mesopotamians’ belief that the conquering power of the king and the deity would protect the empire from its enemies. These interconnections in the sculptures go beyond time and provide a coherent and invariable view of Mesopotamian art and culture.

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Figure1. Ashurbanipal hunting lions. Palace of Ashurbanipal, Ninevah, Iraq, ca.645-640 BCE. Gypsum, 5’4”. British Museum, London.

Figure2. Cylinder Seal. Ninevah, Iraq, ca. 2254-2193 B.C. Black stone, 4.2 cm x 2.5 cm. The Oriental Institute, Chicago.