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BABYLONIAN AND ASSYRIAN MEMORANDA
Author(s): C.C.
Source: Bulletin of the Detroit Institute of Arts of the City of Detroit, Vol. 1, No. 1 (OCTOBER,
1919), pp. 11-12
Published by: Detroit Institute of Arts
Stable URL: http://www.jstor.org/stable/41498757
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Institute of Arts of the City of Detroit.
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BULLETINOF THE DETROIT INSTITUTEOF ARTS
BABYLONIAN
AND
ASSYRIAN
Throughthe giftofMr. HenryG.
Stevens,the Institutehas come into
smallinscribpossessionofthirty-six
ed Babylonianand Assyriantablets
of burnt clay, which togetherwith
the Assyrian brick given to the
Museum by Mr. George S. Waite
someyearsago, have beenassembled
and placed on exhibitionin theEast
Room on the firstfloorof the Museum,wheretheyforma veryinteresting commentaryon a civilization
that antedatesthe Christianera by
many centuries.
In the Tigris and Euphrates valleys,as in the valley of the Nile, an
excellent modelling clay, firm in
textureand close-grained,was extremelyplentiful. It furnishedthe
materialfor the brickswhich were
used so extensivelyin the construction and decorationof Assyrianand
11
MEMORANDA.
Babylonian buildings,and it also
was the material which received
most of theirwritings. While soft
and moisttheclaycouldbe engraved
by meansofa metalstylus,withthe
greatestease and swiftness. After
passing throughthe kiln, the solid
terra cotta slab or cylinderwas of
such durabilitythat the inscription
could be lost only by the deliberate
reduction of the slab to powder.
Thus communicationsand records
of all kinds inscribed on tablets,
such as those includedin the giftof
Babylonian fragmentsmade to the
Instituteby Mr. Stevens,have been
preservedthroughthe ages.
These inscriptions,includingreand for
ceipts for templesacrifices,
sheep,grainand dates, memoranda,
inventories,labels, a promissory
note,and a letter,are in cuneiform,
ш.
i.
п,
I- RECEIPT
FORREEDS
INSCRIPTIONS.
WITHCUNEIFORM
CLAY
BABYLONIAN
TABLETS,
OF SHEEPAND
FORGRAIN.Ш- ACCOUNT
FROMTWOCITIES.II- RECEIPT
BY
PRESENTED
ACOLLECTION
OFTHIRTY-FIVE
KIDS. AMONG
G. STEVENS.
MR.HENRY
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12
BULLETINOF THE DETROIT INSTITUTEOF ARTS
a systemof writingthe characters
ofwhichare composedofhorizontal,
vertical, or oblique triangular
strokesor wedges,eitheralone or in
combinations.This cuneiformwriting was firstadopted by the Babylonians after its invention by a
people called Sumerians,and was
used by themfromabout 4500 B. C.
to the firstcenturyB. C. It passed
fromthem to the Assyrians,who
used it, withsome changes,notably
in recordingthe lifeand deedsofthe
kingson theterracottabrickswhich
formedtheirpalaces. Such an inscribedbrick,bearinga part of the
connectedannals of ShalmaneserII.
(859-825B. C.), as recordedprobaably on the walls of his palace at
Ninevah or some other Assyrian
residence city, was given to the
Institutein 1900 by Mr. GeorgeS.
Waite of Kalamazoo.
C.C.
BRICK
FROM
ASSYRIAN
THEPALACE
OFSHALMANESER.
П.-(859-825
В. С.),ATNINEVEH
OR OTHERRESIDENCE
CITY.
PRESENTED
BYMR.GEORGE
S. WAITE.
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AN ASSYRIAN RELIEF OF TIGLATH-PILESER III
Author(s): FRANCIS W. ROBINSON
Source: Bulletin of the Detroit Institute of Arts, Vol. 29, No. 4 (1949-1950), pp. 86-89
Published by: Detroit Institute of Arts
Stable URL: http://www.jstor.org/stable/41505080
Accessed: 03-05-2015 17:31 UTC
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact [email protected].
Detroit Institute of Arts is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Detroit
Institute of Arts.
http://www.jstor.org
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AN ASSYRIAN RELIEF OF TIGLATH-PILESER III
Throughthe Ralph HarmanBoothFund, the DetroitInstituteof Artshas
workof artrecoveredby archaeologicalexrecentlyacquiredits mostimportant
III, King of Assyria,745-727B.C., receiving
cavation,a reliefof Tiglath-Pileser
in
of officials
and attendants.This relief,in
the
a
warrior
from
presence
homage
alabastreouslimestone,comesfromone of the royalpalaces in the ancientcity
ofCalah, which,afterAshurand beforeNinevehand Khorsabad,was thesecond
capitalof the ancientAssyriankingdom.Today the mound of Nimrud some
twentymilesbelow the townof Mosul on the east bank of the riverTigrisin
Iraq marksthe site.
Here in 1845 Austen Henry Layard began excavationsfor Sir Stratford
Canning, BritishAmbassadorto Turkey,which were latercarriedon for the
Trusteesof theBritishMuseum. His first
campaignat Nimrudlastedfrom1845
to 1847;his second,in whichhe was assistedby HormuzdRassam,from1849 to
1850. Hormuzd Rassam, JuliusWeber, and George Smith later carriedon
the
of thelastcentury,
and fifties
on thesamesite. Duringtheforties
excavations
ancient
of
the
the
thrilled
was
of
Assyriaof
rediscovery
by
publicmind Europe
in
in the
relief
and
its
and
towns
and
the Bible,its kings,its
sculpture
palaces,
of
the
ancient
cuneiform
wererejoicingin thedecipherment
round;and scientists
writingwhichrevealednotonlythenamesof therulersbut also the accountsof
theirreigns,theirmilitary
campaignsand theirbuildingachievements.
Layard,in his book,Ninevehand itsRemains, firstpublishedin 1849,records
the findingof the relief,now in Detroit,in February1846. It stood in the
South-WestPalace at Nimrud,butlikeso manyotherreliefsfoundin thispalace,
it gave evidenceof havingbeen broughtfromanothersite. The findsshow that
theSouth-WestPalace was in thecourseof construction
by Esarhaddon,Kingof
the CentralPalace
from
material
669
with
from
681
to
B.C.,
plundered
Assyria
fire
and
as
a resultmuchof
at Nimrudand elsewhere,when it was destroyed
by
in there-using,
thenwas damagedby the heat,and
itssculpturewas mistreated
fromexposureto the elements.The presentreliefis remarkably
finallysuffered
well preserved.It has becomeseparatedfromthe adjoiningslabs and the fragon horsebackhave
whichcontainedfigures
remainsoftheupperregistèr
mentary
been cut off,probablybeforethe lowerregisterwas broughtto England.
The majorityof the sculpturesfromNimrud found theirway into the
BritishMuseumwheretheymaybe seen today.Some wentintoothermuseums
and someto individuals.The reliefnow in Detroitwas acquiredby the Honorable RobertClive who illustratedit on the title-pageof his book, Sketches
betweenthePersianGulf and Black Sea, publishedin 1852,withthe following
statement:"This slab fromthemoundof Nimroudwas obtainedfromH. B. M.
Vice-Consulat Moosul,1850,& is nowin thepossessionof theHon. R. H. Clive,
at Hewell." The BritishVice-Consulat Mosul at thistimewas ChristianRassam,
an excavatorhimself.
brotherof the excavatorHormuzdRassamand sometimes
86
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The reliefwas installedat Hewell Grange,Redditch,Worcestershire,
England,
and remainedtherein comparative
seclusionand oblivionuntilit was removed
thepresentEarl of Plymouthand a
bytheHonorableIvorMiles Windsor-Clive,
descendantof theoriginalowner. It was sold at auctionin Londonin July1946
and passed into the hands of H. Kevorkianin New York,fromwhom it was
acquiredby theDetroitInstituteof Arts.
Such Assyrianreliefsof courtscenesare not commonin Americancollectionsor elsewhere.Over the yearsthe ancientruinedpalaces of the Assyrian
kingshave been strippedof theirsculptureswhich are to be found in many
the world. In Americancollections
collections,public and private,throughout
of mythothe Assyrianreliefsconcernthemselveslargelywith representations
in
and
often
on
a
some
cases,
logicalfigures
religiousscenes,
large scale, and,
in acquiringso handsome
withscenesof military
campaigns.Detroitis fortunate
and so unusuala reliefof a courtscene.
The relief,7 feet 10 inchesin lengthand 4 feet in height,includessix
figures.It is incompleteat bothends, showingthatit formedpartof a longer
the factthatit was the lowerof
processionof figures;and its heightconfirms
twofriezesseparatedby a band of inscription.The subjectis trulymajestic.In
typicalAssyrianstylethefiguresstandin one plane,rootedin place but expressinganimationthroughtheirvariedgestures.The King,wearinga distinguishing
conicalheaddress,standsfacingto the right,holdinghis bow in his lefthand,
and makinga gestureof greetingwithhis right.Behindhiman attendantraises
a flywhisk. Beforethe King,in the presenceof threeofficials
advancingto the
- perhapsa soldier-prince
a helmetedwarrior
left,is prostrated
vanquishedon the
fieldof battleor a conqueredkingof an adjoiningland.
remains. It is chiseledout in
of inscription
Above the reliefa fragment
the cuneiformor wedge-shapedcharactersof ancient Mesopotamianwriting,
and othersin the Near East. It
used by the Sumerians,Assyrians,
Babylonians,
his military
is a partoftheannalsofTiglath-Pileser
III, recording
campaignsand
Dr.
I.
to
a
translation
J. Gelb of the
kindlysuppliedby
conquests.According
of Chicago,it reads: "I conqueredthecityof
OrientalInstituteof theUniversity
withthecitiesof itsenvirons.I carriedofftheirbooty.The man
Siburtogether
Tanus fledto the mountains.I offeredpure libationsto the god Marduk who
of
dwellsin Til-Ashuri."This refersto a campaignintoMedia, lyingnortheast
in
737
B.C.
an
event
which
occurred
Assyria,
The powerof Assyria,once so mighty,was alreadyon the wane when
usurpedthe thronein 745 B.C. and by a programof vigorous
Tiglath-Pileser
military
conquests,now to thenorth,now to theeast,now to thewest,and finally
to thesouth,expandedtheempire,curbedthepowerof thepriestsand strengthened thepositionoftheking. In Babylonia,he was recognizedas rulerand called
by the specialname of Pulu or Pul, the nameby whichhe is mentionedin the
Bible (II Kings 15:19). The Bible also containsreferenceto the campaignsof
againstSyriaand Palestine,and gives glimpsesof the methods
Tiglath-Pileser
secureallegiance,and enrichAssyriapursuedby thekingto subduecountries,
88
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offof booty
thedestruction
of peoples,and thecarrying
of cities,thedeportation
and tribute.All thisis confirmed
in thewrittenannalsof theAssyriankingsand
in thesculpturedreliefs,bothof whichwerespreadupon theirpalace walls.
in portraits
In statelyprocessionsof deitiesand courtiers,
of the king and
scenesof his campaigns,the recordof the Assyrianrulerswas presentedin low
walls of the
reliefcarvedupon limestoneor alabasterslabs liningthe mud-brick
templesand palacesof Nineveh (Kuyunjik), Calah (Nimrud), and otherroyal
cities. Numerousmusthave been the artistswho carvedthesereliefsand some
of plasticform,of ornamental
of themshowedgreatskillin therendering
detail,
reliefin Detroitwill amplyrepay
and of pictorialdesign. The newly-acquired
who keepstheseideas in mind. Whereasthe representatheinquiringspectator
tionsofthewingeddeitiesare oftenoverpoweringly
severe,and thescenesof the
of captives,and the carrying
attacksupon cities,thepunishment
away of booty,
the majesticscenesof courtlife,such as in the
are restlessand nerve-straining,
and
presentrelief,have a dignitythatrevealsthe best in Assyrianimperialism
in Assyrianofficial
sculpture.
As the collectionof ancientMesopotamianart in the DetroitInstituteof
Artsgrows,it becomespossibleto secure a broaderand sounderidea of the
of the artistsof the AncientNear East. WhereasMesopotamia
accomplishment
hereforthirtyyearsalmostentirelyby cuneiforminscriptions,
was represented
a brickof ShalmaneserIII fromthe Zigguratof Calah (Nimrud), given by
GeorgeS. Waite of Kalamazooin 1900,and a groupof smallinscribedtablets,
mostlybusinessrecords,acquiredin 1919, the past twentyyearshave seen the
: a Sumeriansculpture
ofoutstanding
importance
acquisitionofsomemonuments
three
in theround,a Neo-Babyloniantilerelief,and lately
examplesof Assyrian
reliefsculptureof different
periods. The oldest is the winged eagle-headed
at
a sacredritefromthe North-Westpalace of Ashurnasirpal
geniusperforming
of
Nimrud,datingfromthe ninthcenturybeforeChrist. This was the gift
Mr. and Mrs. Leslie H. Greenin 1947. The nextoldest,thelargest,and to date
is the reliefof Tiglath-Pileser
the mostimportant,
III, datingfromthe eighth
the Ralph Harman Booth
been
has
which
B.C.,
just
through
acquired
century
of a campaignscene,a man with horses,
Fund. The thirdreliefis a fragment
fromthe palace of Sennacherib,built about 700 B.C. at Kuyunjik (ancient
Nineveh). This was thegiftof Mrs. Lillian Henkel Haass in 1944.
w. ROBINSON
FRANCIS
of twoslabs,one of whichis dividedby a
Acc.no. 50.32. Limestone.
Comprised
Austen
obliquebreak.Height4 feet;width7 feet10 inches.References:
slightly
379
vol.
its
and
Nineveh
(in
60,
I,
1849,
pp.
London,
Remains,
HenryLayard,
beNew York,1854,vol.I, pp. 68, 307); Robert
Clive,Sketches
American
edition,
on titleandcaption
tweenthePersianGulfand BlackSea,London,1852,vignette
StoneBas& Co., London,Catalogue
Assyrian
of . . . an important
page;Sotheby
theProperty
29, 1946,p. 15,no. 162,andpl.V.
July
Relief,
ofTheEarlofPlymouth,
GiftoftheRalphHarmanBoothFund,1950.
89
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A Sculpture of Gudea, Governor of Lagash
Author(s): Donald P. Hansen
Source: Bulletin of the Detroit Institute of Arts, Vol. 64, No. 1 (1988), pp. 4-19
Published by: Detroit Institute of Arts
Stable URL: http://www.jstor.org/stable/41504782
Accessed: 03-05-2015 17:31 UTC
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact [email protected].
Detroit Institute of Arts is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Detroit
Institute of Arts.
http://www.jstor.org
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/';-=09
)(8*=-0/']
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A
Sculpture
of
Gudea,
Governor
of
Lagash
DonaldP. Hansen,Professor,
Institute
NewYork
ofFineArts,
University
Ofallthepersonages
known
from
themost
ofMesopotamia,
remote
Gudea,
history
oftheancient
ofLagash,
city-state
governor
in
the
He
emerges
strongest
light. is the
mostaccessible
becauseoftheforfigure
tunate
ofsuperbexamples
ofhis
preservation
literature
as wellas an extraordinary
religious
number
ofimpressive
works
ofart:collectivethese
materials
constitute
one
ofthehigh
ly
inthehistory
ofMesopotamian
points
In 1982,theDetroit
culture.
Institute
ofArts
ofGudea(figs.1 and2)
acquireda statue
thathasbeenknown
tothescholarly
world
forsomesixty
It
is
a
fine
years.
very example
oftheartofGudea'sreignbut,becauseofits
hasproven
alsotobe a highly
idiosyncracies,
controversial
sculpture.
1.
Figure
ca.
Neo-Sumerian,
Gudea
2153-2004
B.C.,
of
h.41
; paragonite,
Lagash
cm(16%in.).Founders
Robert
Purchase,
Society
H.Tannahill
Foundation
Fund
(82.64).
inthelatter
Gudea'sreemergence
partofthe
nineteenth
coincides
withthebegincentury
ofancient
Sumer.
ningsofourknowledge
thepioneering
excavations
ofthisperiod
Today,
seemhighly
romantic:
forthreeseasons
in 1877 Ernest
de Sarzec,a
beginning
intheMesopotaFrench
consulinterested
mianpast,excavated
insouthern
Iraq,then
of
the
at
Ottoman
a
part
Empire, sitecalled
Tello,overwhichGudeaonceruled.Itis
thatde Sarzecfound
thefirst
reported
statues
ofGudea,1
buttherecords
ofthe
lackclarity,
andwecanbe sure
earlyfinds
thatthesitewasdugclandestinely
bythe
Bedouinatleastintotheearlypartofthis De Sarzecwasfollowed
atTelloby
century.
otherfamous
suchas Gaston
earlyexcavators
andtheAbbe
Cros,a military
commandant,
HenrideGenouillac,
anAssyriologist.
Finally,
turned
from1931-1933,
AndreParrot
his
attention
tothisnow-famous
site.
2.
Figure
Gudea
1),
ofLagash
(fig.
back.
Tellois locatedwestoftheTigris
Riverinthe
southeastern
partofIraqinthepresent
ofNasiriyah.
Farther
tothesouth
province
aretwoother
tells,orancient
veryimportant
whosemodemnamesareal-Hiba
mounds,
andSurghul.
Thesemounds
arethepresentofthethreemajorcitiesof
dayremains
Gudea'sstateofLagash:Lagash,thecapital;
Girsu;andNina.Eachcitywassurrounded
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3.
Figure
ca.
Uruk
Period,
EnPriest,
4100-3100
B.C.,
from
alabaster,
Warka;
and
lapis,
mother-of-pearl,
h.18cm(7V2
bitumen,
in.).IraqMuseum,
Photo:
Scala/Art
Baghdad.
N.Y.
Resource,
ofthe
Chronology
oftheEarlyHistory
StateofLagash
Periodca. 4100-2900B.C.
Protohistoric
- 3100B.C.
ca.4100
Uruk
Period
- 2900B.C.
ca.3100
Nasr
Period
Jamdat
Periodca. 2900- 2335B.C.
EarlyDynastic
Umanshe
Akurgal
Eannatum
I
Enannatum
Entemena
Uru'inimgina
Akkadian
Periodca. 2334-2154B.C.
Sargon
Rimush
Manishtusu
Naram-Sin
Shar-kali-sharri
Shu-turul
B.C.
Periodca. 2153-2004
Neo-Sumerian
Invasion
Guti
ofLagash
Second
Dynasty
Urbaba
Gudea
Urningirsu
Pirigme
Ur-Gar
Nammahani
ofUr
Third
Dynasty
Ur-Nammu
Shulgi
Amar-Suen
Shu-Sin
Ibbi-Sin
4.
Figure
ca.
Period,
Early
Dynastic
2900-2335
B.C.,
Entemena
, from
ofLagash
h.76cm
Ur;diorite,
in.).IraqMuseum,
(2915/16
Baghdad.
6
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andvillages.
Due tothelarge
bylessertowns
amount
ofinscriptional
material
thatoriginally
camefrom
thesiteofTello,ithadbeen
thatitwastheancient
cityofLagash.
thought
Further
ofthetextual
evidence,
study
thatal-Hibawasactually
however,
suggested
andmodern
Lagash,TellowasGirsu,
Nina.
excavations
at
was
Recent
Surghul
thatthissitewas,in
al-Hibahaveconfirmed
thecapital.2
fact,originally
theProtohistoric
period,a time
During
whichsawthe"emergence
ofcivilization,"
unstratified
indicate
that
fragments
pottery
thesiteofTellowasinhabited.
the
Although
areaofoccupation
wasprobably
extensive,
thereareunfortunately
nobuilding
remains
withthepottery.
thatcanbe associated
The
remains
ofthemound
onthepresent
surface
atSurghul
alsosuggest
extensive
occupation
ofNinaatthistime,
andwecanassumethat
no
Lagashwasalsoinhabited,
although
remains
from
thistimehaveyetappearedin
theal-Hibaexcavations.
theEarlyDynastic
During
period,Lagash
of
becameoneofthemajorcity-states
an area
Sumer.
Itscapitalcityencompassed
twomileslongandoveroneanda halfmiles
wide.Fromthisperiod,
artifacts,
buildings,
andworks
ofart,allofwhichcanbe
have
associated
withknown
historical
rulers,
Itis a periodfrom
which
beenrecovered.
wehavethefirst
truehistorical
records
concerned
withcontemporary
inscriptions
anda concomitant
earthly
happenings
inartthatattempted
toprovide
a
expression
ofconcrete
worldly
description
pictorial
borethetitleensi
events.3
,
Lagashrulers
whichmaybe translated
as lordorgovernor.
Thistitledoesnotmeanthattheywere
subservient
toa particular
king,orlugal,as
their
titlewouldimpl^ina laterperiod,
but
rather
thattheywerecarrying
outthewillof
thegodwhoownedth£stateofLagash,
whosepower
wasmanifest
namely
Ningirsu,
inthethunderstorm.4
Fromabout2500 B.C.,Semitic
names
written
records
indicating
appearinSumerian
thatas earlyas theEarlyDynastic
period
Semites
hadinfiltrated
intoSumerfrom
the
north
andwest.Bythetwenty-fourth
century,
theSumerian
hadbeensubsumed
city-states
Akkadian
whosefirst
bytheSemitic
dynasty,
andmostfamous
kingwasSargonofAkkad.
Akkadian
cametobe
TheSemitic
language
inthecuneiform
written
by
script
developed
andintheartofthecourt
Sumerian
scribes,
ofpower
thereappearsan expression
with
a
new
on naturalism,
coupled
emphasis
intheprevious
unknown
EarlyDynastic
weakness
allgreatempires,
period.As within
inthefabric
ofthesystem,
and
developed
thelastoftheAkkadian
evenbefore
kings
hadreigned,
barbarian
peoplescalledthe
theeastern
mountains
Gutidescended
from
ontotheplainofMesopotamia.
Although
therewereensisofLagashunderthe
itwasnot
oftheAkkadian
suzerainty
kings,
this
until
thetimeoftheensiUrbaba,during
thatthestateof
periodofGutioccupation,
Lagashoncemoreassumeda prominent
role.
political
thecapitalcity,
Although
Lagashremained
offinds
from
thesiteof
thegreatnumber
werenowin
Tellosuggests
thattherulers
wasa
there
residence
atGirsu.Culturally,
ofearlier
traditions
fusion
oftheSumerian
of
timeswiththebestoftheinnovations
term
Akkad.Forthisperiodthegeneral
is used,andwithUrbaba
Post-Akkadian
of
the
so-called
SecondDynasty
begins
whencoupledwiththe
Lagash.Thisdynasty,
as the
ofUr,is alsoknown
ThirdDynasty
a timewhichhas
Neo-Sumerian
period,
Renaissance.
beencalledtheSumerian
GudeawasthesecondruleroftheSecond
ofUrbaba,
andtheson-in-law
Dynasty5
the
latter's
married
daughter
having
a periodof
He reignedduring
Ninkalle.
for
relative
peace andgreatprosperity
campaign
Lagash,withonlyonemilitary
statesof
recorded
againsttheneighboring
ElamandAnshanintheKhuzistan
region
5.
Figure
ca.2334-2154
Akkadian,
B.C.,
Manishtusu,
King
from
h.94
Susa;diorite,
cm(37in.).Musee
du
Paris
Louvre,
(SB47).
Photo:
Musees
Nationaux,
Paris.
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7.
Figure
ca.
Neo-Sumerian,
2153-2004
B.C.,
Urbaba,
h.68
from
Tello;
diorite,
cm(26%in.).Musee
du
Paris
Louvre,
(AO9).
Photo:
Musees
Nationaux,
Paris.
thatdescribethebuilding
beenpreserved
calledthe
ofthetempleofNingirsu,
Eninnu,inGirsu.Thiswasonlyoneofover
inGirsu
thirty
templesGudeaconstructed
alone.The calltobuildthetemplecameto
Gudeaina dream,andinthisdream,too,
wasrevealedtheplanofthegod'shouse;
theonechosentoexecute
Gudeais merely
ofthe
thedivinewill.9
Fromwhatremains
is gained
variedinscriptions,
an impression
of
ofGudea'sextreme
pietyandtheweight
dutiesimposeduponhimin
thereligious
thissame
hisroleas ensi.Itis precisely
hissculpture.
thatpermeates
feeling
Iran.Lagashmusthavebeen
ofmodern
6.
Figure
ca.2334-2154 themajorpowerinthesouthern
Akkadian,
region,
Headofa Ruler
B.C.,
inother
sinceGudeaalso builttemples
from
(Naram-Sin?)
and Uruk.6
suchas Ur,Nippur,
city-states
h.36.6
bronze,
Nineveh;
cm(14%in.).Iraq
as well
Photo: Gudeacarriedon tradetothenorth
Museum,
Baghdad.
Giraudon/Art
Resource, as tothemiddleEuphrates
areaandeven
N.Y.
whichhe
intonorthern
Syria,from
Overseastradethrough
obtainedcedar.7
the
thegulfwasextensive,
continuing
thathadbeenmadeinmuch
contacts
earliertimes.FromDilmun,Magan,and
Meluhha(probably
Oman,and
Bahrain,
and other
coastalIndia)camediorite
rarewoods,carnelian,
stonesforstatues,
lapislazuli,gold,andcopperalongwith
notfound
otherhighly
prizedcommodities
insouthern
Mesopotamia.8
Beyondthefactthatthesevariedmaterials
wererareandcostly,
theymayalso have
andsymbolic
hadindividual
religious
Gudea
and
potencies.
significances
from
faraway
thesematerials
procured
landstoserveinhisprodigious
building
whichfocusedon thecelebraprograms,
tion ofthegodsofSumer.The temples
a
and radiant,
musthavebeensumptuous
perhapsnotunlikethe
splendideffect
timesin
ofmedieval
treasuries
cathedral
have
theWest.Fortunately,
poetichymns
The statuesofGudeaarepartofa long
in
tradition
oftherulerimageor"portrait"
art.The
thehistory
ofMesopotamian
earliestexampleofsucha statueis thatof
theen,excavated
theso-calledpriest-king,
inWarka,
theancientcityofUruk(fig.3).
notfoundina well-stratified
Although
thisalabasterfigure
can,onthe
context,
totheUrukor
basisofstyle,
be attributed
Nasrperiodinthelatter
Jamdat
partofthe
Thefigure
is nudefrom
millennium.
fourth
handsat
thewaistup andholdshisfisted
the
thewaistina rare,purposive
gesture,
clear.
The
which
is
not
of
entirely
meaning
so
massedhair,boundedbya fillet
thickly
a fullface
thatitresembles
a cap,frames
markedbyinseteyescomposedofbitumen
and shell.Alreadyinthisearlyperiod,
thereis a decidedemphasison a surface
ofoutlinemost
naturalism
and a fluidity
oftheupper
inthetreatment
noticeable
armsandshoulders.
of
Thelife-like
qualitiesand naturalism
statueinthisremarkable
thepriest-king
artwerenot
exampleofearlySumerian
tothesamedegreeintheroyal
maintained
ofthesucceeding
EarlyDynastic
sculpture
are
whichveryfewexamples
period,from
ofthe
forthehistory
Important
preserved.
of
royalimageis a statueofEntemena
in
the
who
ruled
an
ensi
4),
Lagash(fig.
The
secondhalfofthethirdmillennium.
foundatUr,which
statuewasactually
8
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thatLagashprobably
exerted
suggests
considerable
poweroveritssouthwestern
stands
atthistime.The figure
neighbor
centimeters
seventy-six
high,eventhough,
theheadis missing.
Neverunfortunately,
itis clearthattheruleris
theless,
intheguiseofthetypical
represented
votive
he is nude
EarlyDynastic
figurine:
from
thewaistup,wearsan elaborately
and holdshishandslinked
skirt,
fringed
ofprayer.
at
his
together waistina gesture
ofa
He wasclean-shaven
sinceno portion
beardappearsacrosshischest,and he
maywellhavebeeneitherbald,likemany
and priests,
orhave
ordinary
worshippers
coiffure
of
wornan elaborate
worthy
thenippleson hischest
royalty.10
Although
thereis littleotherarticulaareindicated,
tionintheupperpartofhisbody.From
thewaistdown,he is encasedina massive,
thatwasprobably
conical,fringed
garment
madeofwoolandwhichreachestobelow
mid-calf.
Severalimportant
characteristics
ofthisstatueprefigure
theroyalimagesof
laterAkkadian
and Neo-Sumerian
times.
has
a
the
Firstly, sculptor provided
"window'-a recessedspacebetween
the
ofthe
lowerroundedbase andthebottom
- thatallowsthefeetandanklestobe
skirt
seen.Secondly,
a relatively
largeinscription,incisedontheupperbackand
carriedovertothefront
oftheupperright
withothercontemporary
arm,contrasts
and earlierinscriptions
on statues
that
contain
formula.
onlya shortdedicatory
Thisinscription
enumerates
buildings
Entemena
constructed
and,mostsignifi1Thirdly,
cantly,
givesthestatueitsname.1
thestatueis madeofdiorite,
a veryhard,
darkstonewhich,whenpolished,
takeson
a deepluster.
Suchdarkstoneswere
favored
insubsequent
royalsculpture.
8.
Figure
ca.
Neo-Sumerian,
2153-2004
Architect
B.C.,
with
Tello;
Plan,from
h.24cm(97/l6
diorite,
in.).
Musee
duLouvre,
Paris
Musees
(AO2).Photo:
Paris.
Nationaux,
A diorite
statueofKingManishtusu
(fig.
5), although
lackingheadandtorso,
wellthenatureoftheroyalimage
illustrates
intheAkkadian
Thestatueof
period.12
in
interest
Manishtusu
showsa renewed
whichhadfirst
naturalism,
appearedina
fashion
inthealabaster
priestrudimentary
times.Thisnaturalism
kingofProtohistoric
inthesubtleindication
is mostnoticeable
inthegarment,
oftheobliquefurrows
createdbythecontraction
ofthetucked
cloththatwrapsaroundthe
up,smooth
oftheflatplane
lowerbody.The breaking
a slight
oftheheavyskirt,
whereby
playof
in
and
shadow
is
introduced,
captures
light
stonethesuppleness
o( whatwasprobably,
inreality,
a woolenmaterial.
Exceptfora
thebuttocks,
distinguishing
swelling
slight
thereis nosenseofthelowertorsoand
legsbeneaththegarment.
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have
The handsofthestatueofManishtusu
oftheMuseedu
longbeeninthecollection
Louvre,Paris,butonlyinrecentyearshave
theybeenjoinedtothebody.Clasped
intheprayer
theyare
gesture,
together
withsharp,geometric
planes
sculpted
the
thejuncture
between
demarcating
the
the
the
back
of
and
hand;
fingers
indicated
however,
fingernails,
carefully
detail.
providenaturalistic
Perhapssomeidea oftheappearanceof
headofthisstatueofManishtusu
themissing
ofthe
can be gainedbya consideration
famedbronzeheadfromNineveh
(fig.6),
whichwasprobably
partofa statueof
thesuccessorofManishtusu.
Naram-Sin,
Itssingular
beautyas a workofartis
technical
echoedbyitsextraordinary
bronze.The
as a hollow-cast
achievement
coiffure
composed
kingwearsan intricate
and
chasedgeometric
ofdifferent
patterns
sized
ofvaryingly
a fullbeardfashioned
of
intiers.Thisrichness
curlsarranged
of
withthesmoothness
texture
contrasting
andprecisely
formed
theperfectly
articulated
nose,andcheeks
mouth,
imbuestheheadwitha truesenseof
kingly
grandeur.
9.
Figure
ca.
Neo-Sumerian,
Broad2153-2004
B.C.,
from
Shouldered
Gudea,
h.142cm
diorite,
Tello;
du
(55%in.).Musee
Louvre
(AO6).Photo:
Paris.
Musees
Nationaux,
thefalloftheAkkadian
Dynasty,
Following
ofLagashtraditionally
theSecondDynasty
of
beginswithUrbaba,thepredecessor
statueofthisensi
Gudea.A greendiorite
headless,was
(fig.7), againunfortunately
inTellobyde Sarzecandis now
discovered
towhatweknow
intheLouvre.In contrast
thisstatueof
ofAkkadian
sculpture,
inthe
Urbabaseemsalmostclumsy
intheupper
heaviness
oftheproportions
inthe
mostnoticeably
partofthesculpture,
is perhapsdue toa
hands.Thistreatment
inthe
traditions
continuation
ofSumerian
Akkadian
the
southofMesopotamia
during
oftheoutline
period,yetthesinuousness
armspeaksforthe
ofthebaredright
ofaspectsoftheAkkadian
influence
lasting
10
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beenpointedoutthat
style.It has often
sucha fusioncharacterizes
theartand
culture
oftheSumerian
Renaissance.
UrbabaruledLagashfornineAlthough
teenortwenty
years,verylittleis preserved
an extraorfrom
hisreign.In contrast,
ofsculptures
arepreserved
dinarynumber
from
thetimeofGudea,whoruledforan
number
ofyears.Thesesculpequivalent
a
turesarebasicallyoftwotypes,namely
seatedGudeaanda standing
Gudea.Of
thefinest,
made
theseatedGudeastatues,
ofa greenish
wasexcavated
atTello
diorite,
as the"architect
byde Sarzec.It is known
withplan"(fig.8). Gudeais depicted
seatedon a stoolwithhishandsclaspedin
His right
shoulderandarmare
prayer.
bare,buttherestofhisbody,exceptforhis
ina longgarment,
which
feet,is enveloped
acrosshischestandis
passesdiagonally
heldsecurebya tuckovertheright
pectoral.
Uponhislap is a largetableton
whichis incisedtheplanofEninnu,his
Theplanis irregular
templeforNingirsu.
andprobably
theentire
represents
which
we
know
from
textual
precinct,
evidencecomprised
a largenumber
of
thestatueis blocky,
buildings.
Although
in
thesculptor
has displayed
an interest
themusculature
intheexposed
suggesting
modulations
of
partsofthebodybycareful
thesurface
planesofthestone;however,
suchindications
the
neverreallypermeate
inthe
fabricofthesculpture.
Following
Akkadian
tradition
aretheveryrealistic
A
detailsofthefingernails
andtoenails.
ofa cartouche
longinscription
consisting
and a maintextcoversmostofthebackof
thefigure,
and
thestool,andthefront
sidesoftheskirt.
Composedofbeautifully
executed
cuneiform
signs,theinscription
addsa dimension
of
unquestionably
aesthetic
appealtothemoderneye,which
wellmaynothavebeenaij original
intention
ofthesculptor.
10.
Figure
ca.
Neo-Sumerian,
2153-2004
NarrowB.C.,
Shouldered,
from
Gudea,
h.125cm
Tello;
diorite,
du
(49V4
in.).Musee
Paris
Louvre,
(AO5).
Photo:
Musees
Nationaux,
Paris.
11
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11.
Figure
ca.
Neo-Sumerian,
2153-2004
B.C.,
Urningirh.55cm(21%
su;chlorite,
in.).Head:Metropolitan
Museum
ofArt,
New
York,
Fund
(47.100.86).
Rogers
Musee
duLouvre,
Body:
of
Paris,
Department
Orientales
Antiquites
Cour(AO9504).Photo:
oftheMetropolitan
tesy
Museum
ofArt.
The statuesofboththeseatedandstanding
inessentially
the
Gudeatypesareexecuted
samegeneralstyle.Yet,whentheentire
is viewed,
examples
corpusofpreserved
therangeofindividual
stylistic
possibilities
is very
within
thisgeneralframework
A comparison
broad.13
oftheexcavated
diorite
statuesofthe"broadstanding
shouldered"Gudea(fig.9) andthe
"narrow-shouldered"
Gudea(fig.10) is
ofthe
instructive.
The generalproportions
arevisually
heavierand blockier,
former
arethinner
with
whereasthoseofthelatter
a moresinuousoutline.
Whilethefoldsof
thegarments
ofbothstatuesarethesame,
thoseofthe"narrow-shouldered"
Gudea
accentedandmore
aremoreplastically
A similar
rendered.
impressionistically
ofthe
holdsfortheexecution
comparison
in
hands.The "window"is muchnarrower
statue.Basedon purelystylistic
thelatter
ithas beenproposedthatitis
analysis,
ofGudea
possibletodividethesculptures
intothreebasicphasesthatshowa developan early
mentofthesculptural
stylefrom
toa late"naturalistic"
stage.14
"geometric"
Sincetherearenofixedchronological
pointsbywhichtoorderthesculptures
within
thereignofGudea,itis impossible
itis a
toprovetheargument.
Nevertheless,
forthereclearly
viableworking
hypothesis,
is a changebetween
theworks
produced
of
andthatofhis
the
rule
Gudea
during
A softening
sonandsuccessorUrningirsu.
offorms
anda morenaturalistic
approach
intheimagescreatedduring
is manifest
reign.
Urningirsu's
statuesof
Thereareonlytwoknown
One,whichwasnotfound
Urningirsu.
excavations
atTellobut
theofficial
during
camefrom
thatsite,is nowowned
probably
bytheLouvre(body)andtheMetropolitan
MuseumofArt,NewYork(head)(fig.11).
as coming
The other,
also notrecorded
and
is madeofdiorite
froman excavation,
is intheStaatliche
Museen,Berlin(fig.
between
these
differences
12). The stylistic
statuesandthe"broad-shouldered"
12
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12.
Figure
ca.
Neo-Sumerian,
2153-2004
B.C.,
;
Urningirsu
steatite
(?),h.17cm(6n/16
Museen,
in.).Staatliche
EastBerlin.
Gudeaareclearlyevident,
they
although
whentheyarecompared
arelessmarked
withtheGudeaofthe"narrow
shoulders."
The Louvreand Metropolitan
Urningirsu
a relatively
soft
statueis madeofchlorite,
andeasilyworked
stone.Itis sometimes
truethatthecarving
ofa softstoneinitself
and
can lead tomoreeasilyroundedforms
In
to
detail.
attention
naturalistic
greater
thiscase,however,
thereasonwouldseem
forsimilar
tobe a stylistic
preference,
intheBerlin
tendencies
can be perceived
statuemadeoftheveryhardstonediorite.
Thetrueprovenance
ofanystatuethat
doesnotcomefromofficially
sponsored
excavations
mustalwaysremainsomewhat
TheDetroit
Gudeawasprobmysterious.
excavated
in 1924 atTello,
ablyillicitly
alongwithseveralotherstatuesthatquickly
foundtheirwaytoParis.Parisiandealers
suchas Gejouand Feuardent
Frereswere
involved
withthesale ofthesestatues,
and
in 1925, whentheDetroit
statuewasfirst
publishedbyV.Scheil,itwasinthe
5 Sincethattime,
possessionofFeuardent.1
thestatuewasinthecollection
ofPhilippe
inBrusselsuntilitsacquisition
R. Stocklet
Institute
ofArtsin 1982. It
bytheDetroit
tointhe
usuallyhas beenreferred
literature
Gudea.
as theStocklet
Gudeastandserectwithhishandsclasped
athiswaistinprayer.
The figure,
as in
otherstatuesofthisruler,
wearsoneor
morerobesthatencirclehisbodybutleave
shoulder,
arm,andthe
exposedhisright
Anexactunderupperpartofhischest.18
ofhowthesegarments
wereworn
standing
is difficult.
It is clear,however,
thatone
cornerofthefabricofan outergarment
is
drawnup atthearmpit
andtuckedintoan
upperedgeofan innerrobe,whichpasses
acrossthechestand backofthe
diagonally
shoulders.
Theedgeofthisinnerrobehas
a borderwhichis indicated
bytwoincised
lines.Beneaththeexposedarmis the
vertical
fringed
edgeoftheoutergarment,
whichswings
downandacrossthebackof
thefigure
andendswiththeleft-most
fold
oftheseriescovering
Gudea'sleftforearm.
Thelowergarment
is distinguished
byits
bottom
enlivened
bya
edge,whichis richly
doubleband,possibly
representing
andtassels.Thevertical
embroidery,
edge
ofthissamegarment
is turnedbackso that
itsfringe
fallstoGudea'sleft.
The softandsheerclothofthemantle
theupperleftarm
clingstoandcontours
so thatthereis littledifferandshoulder
ofthe
thefluidoutlines
encebetween
ofthe
exposedandthecoveredportions
torso.The heavyright
shoulderdistends
foldto
therobeandcausesa thickvertical
The Detroit
statueofGudeais madeofa
The
be formed
abovetheleftforearm.
inpartluminous,
silicate
attractive,
highly
inturn,is enclosedin a seriesof
whichvariesincolorfrom
a deep
forearm,
mineral,
thatthegarment
suggesting
gentlefurrows,
greentoan opaquewhite.16
Unquestionon
the
armtofree
been
has
the
natural
of
the
stone
would
pushedup
ably,
beauty
as symbolized
thehandforprayer,
havebeenimmediately
totally
appealingand
toenhancetheefficacy
ofany
bytheclaspedhands(fig.16). Theleft
thought
overthebackofthe
handis placedgently
carvedimage.Itis thesmallest
ofthe
whichis balledintoa fist.The
Gudeatypes;thepreserved
standing
height right,
measuresonly41 centimeters
(16%
wellpreserved
inches).It is remarkably
withonlyminordamagbsthatdo not
detract
from
thetotalvisualeffect.17
areslenderandtubular,
without
fingers
oftheknuckles,
even
anyarticulation
thefingernails
aredelicately
and
though
rendered.
On Gudea'sback,
realistically
thegarment
is equallyrevealing
ofthe
upperbodyso thattheexceedingly
large
shoulders
arecontrasted
withthevery
narrow
waist.19
The Detroit
Gudea, likemostGudea
wearsa tight-fitting
statues,
cap witha
broadbrimdecorated
witha seriesofcurls
orknobs,resembling
whattodayis called
13
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inrelief(fig.
Persianlamb'swool,executed
differs
however,
14). Thisparticular
cap,
from
themoreusualtype;theindividual
curlslackan incisedspirallineandeach
from
therowabove.
rowofcurlsis offset
a
The fiverowsofcurlsonthebrimform
one.
than
a
vertical
rather
diagonalpattern
Another
cap withcurlsthatarenotincised
can be foundon a headintheUniversity
Museum,Philadephia
(fig.15).20
ManystatuesofGudeaarecharacterized
shortneckso thatthe
byan extremely
onthe
headseemstorestdirectly
Thisis nottrueofeitherthe
shoulders.
statueortheBerlinstatueof
Detroit
Gudea'ssonUrningirsu
(fig.12). The
neckand
Detroit
Gudeahas a well-formed
an ovalfacewiththemainemphasisonthe
feature,
ringed
eyes,itsmostprominent
lids.The eyesaresurbyheavycurving
whichmeet
mounted
eyebrows,
bycurving
on thebridgeofthenoseandareaccented
pattern.
byincisedlinesina herring-bone
fullwitha rounded
The noseis somewhat
hookandis clearlyset
bridgeanda slight
on
thecheeksbydeepgrooves
offfrom
is full
The mouth
eithersideofthenostrils.
modeledso thatthetransiandcarefully
thelipstotheplanesoftheface
tionfrom
In manyofthesculpted
flows
smoothly.
and
headsofGudea,thechinis strong
workitis
butintheDetroit
pronounced,
manner.
ina lessforceful
executed
13.
Figure
ofthe
Transcription
onGudea
of
inscription
of
1).Courtesy
(fig.
Lagash
Robert
Professor
Biggs,
TheOriental
Institute,
ofChicago.
University
ofthisparticular
reasonsforthecreation
as follows:
translates
Thecartouche
statue.
Gudea,cityrulerofLagash,theman
and
whobuiltthetempleofNingishzida
thetempleofGeshtinanna.
Thetextreads:
Gudea,cityrulerofLagash,builtto
the
thequeena-azi-mu-a,
Geshtinanna,
hisqueen,
belovedwifeofNingishzida,
hertempleinGirsu.He createdforher
theprayer,"
[this]statue."She granted
it
he gaveita nameforherand brought
intohertemple.21
Thesameinscription,
exceptforthename
is repeatedon twoother
ofthestatue,
an almostcompletely
statues,
namely,
statueofGudeainthe
standing
preserved
and
Copenhagen,
Glyptotek,
NyCarlsberg
statue
another
standing
verywell-preserved
which
from
an aryballos
ofGudea,holding
intheLouvre.TheCopenhagen
waters
flow,
has looked
statueis namedGeshtinanna
statueis
the
Louvre
and
him,
upon
favorable
himlife?2
hasgranted
calledGeshtinanna
inthe
arementioned
Onlytwodivinities
andhisconsort
text,Ningishzida
ofthe
Geshtinanna,
personifications
powerinthetreesandinthegrapevine.
is thepersonalgodofGudea
Ningishzida
forhim
andintercedes
andintroduces
beforea greater
Gudeais a
On thebackoftheDetroit
god,as is shownon a
is
inBerlin(fig.17). Geshtinanna
carvedincuneiform, relief
Sumerian
inscription,
known
as thesisterofDumuzi,
overpartoftheright
whichextends
commonly
withthetimeofGudeashe
butbeginning
shoulderandontotheleftsideoftherobe
In the
the
wife
ofNingishzida.23
becomes
the
The
2
and
13).
(see figs.
upperpart,
itis statedthatGudeabuiltthe
inscription
cartouche,
givesthenameoftheruler,
A
and Geshtinanna.
ofNingishzida
maintextspeaksofthe
whilethelower,
temples
templetothegoddesshad alreadyexisted
underGudea'spredecessor
Urbaba,buta
newtemplewaserectedforherinhernew
oftheruler'spersonal
roleas consort
and
god.ThetemplesofGeshtinanna
locatednear
wereapparently
Ningishzida
thesoutheast
edgeofthecity.24
14
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14.
Figure
Gudea
1),
ofLagash
(fig.
detail.
oftheDetroit
statueis
Theiconography
is
thusrelatively
simple:thesculpture
Itwasintended
tobe
andvotive.
dedicatory
so that
placedinthetempleofGeshtinanna
be ina stateofeverlasting
Gudeamight
tothegoddess.His powerandhis
prayer
as ensi,thevicarofgod
toperform
ability
an
andshepherd
ofhispeople,stemfrom
thedivinity
andthe
interaction
between
ruler.Although
Gudeais certainly
earthly
andrecepalert,an auraofpassiveness
Thisis
tiveness
emanates
from
thestatue.
ofthe
created,aboveall,bytheposition
hands.Claspedhandsaresynonymous
withprayer,
notso muchinthesensethat
"means"prayer
butrather
that
thegesture
theproperattitude
thegesture
symbolizes
forprayer,
Itis a gesture
thatis neither
nordynamic.
norpurposive,
active,
a
arerare.Forexample,
theprayer
gesture
ofMari(Aleppo
ofLamgi-mari
sculpture
Museum,Syria),a kingoftheEarly
Dynastic
period,graspswithhislefthand
The
hand.25
ofhisclosedright
thewrist
is foundelsewhere
Detroit
gesture
figure's
of
intheGudeaperiodinrepresentations
statue
and
on
one
deitiesinrelief
sculpture
ofthegodAlia.26
intheround,supposedly
In theBerlinrelief(fig.17),twodeities,
one beforeandonebehindtheenthroned
areshownwiththeirhandsheldin
figure,
thegodon
thisreverent
although
gesture,
as wellinhislefthand,
theleftholdsa staff
the
as doesthegodAlia.27
Unfortunately,
material
athandis notcomplete
enoughto
the
allowforspeculation
concerning
in
variant
nuancesofmeaning
implied
ancientgestures.
chosenbythesculptor
The prayer
gesture
forthisstatueis unlikethatofanyother
statueofGudea.Ratherthantheclasped
foundon moststatues,
handscommonly
heretheclosedlefthan4is partially
hand.Variants
of
coveredbytheopenright
ofthe
Atnoothertimeinthehistory
ancientNearEastdo wehavesucha
intheroundthatcan
wealthofsculpture
be datedtoa periodcomprising
onlynineteenyears.Forsucha timespaninan art
beforethe
thatappearedessentially
15.
Figure
ca.
Neo-Sumerian,
Headof
2153-2004,
Gudea
h.9.8cm
; steatite,
(3%in.).University
of
Museum,
University
Pennsylvania,
Philadelphia.
16.
Figure
Gudea
1),
ofLagash
(fig.
detail.
15
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All use subject to JSTOR Terms and Conditions
ofa realself-conscious
development
therangeofartistic
aestheticism,
expressionis particularly
broad.28
the
Stylistically,
Detroit
Gudea, withitsslendercanonof
and itstendencies
towards
proportions
is closertotheworks
naturalism,
depicting
hissonUrningirsu
thanitis tothemore
familiar
heavyandblockydiorite
ofGudeaand,thus,mayhave
sculptures
beenmadelateinhisreign.A sculpture
of
Idi-ilum
du
a
shak(Musee Louvre),
kanakku
thetimeof
, orlocalruler,
during
ofUr,which
ShulgioftheThirdDynasty
datesveryclosetothereignofGudeaand
is ofparticular
interest
inthis
Urningirsu,
offorms
and
regard.It has an attenuation
characteristics
similar
slenderproportions,
of
totheDetroit
Gudeaandthesculptures
hisson.Furthermore,
thetasselsofIdiilum'sgarment
areindividually
rendered
andraisedinrelief
toforma horizontal
borderatthebottom
ofthegarment,
thetreatment
ofthegarthereby
making
less
mentoftheDetroit
sculpture
singular.29
Amongtheoeuvrespecifically
fromGudea'sreign,theDetroit
pieceis not
dissimilar
tosuchworks
as the"narrowshouldered"
statue(fig.10), anditis
closetothesmallheadof
particularly
GudeainPhiladelphia
(fig.15),withwhich
itenjoysthesameextraordinary
sensitivity.
The controversy
theDetroit
surrounding
statuearisesoverthefactthatsome
scholarshaveconsidered
thepiece
theworkofa modernsculptor;
spurious,
suchan accusation
raisesa hostofproblems.30
The authenticity
oftheDetroit
Gudearevolves
aroundfourconsiderations:
and
technical,
iconographic,
stylistic,
inscriptional
aspectsofthestatue.Allmust
be examined
andconsidered
since
together
no oneofthemcan aloneanswerthe
questionofthepiece'sauthenticity.
is thestonefrom
Technically
important
whichthestatuewasmadeandthemanner
ofitscarving.
The Detroit
Gudeawas
examined
severaltimesduring
theperiod
whenitwasoffered
ontheartmarket.
The
method
ofcarving
andtheapparent
aging
ofthestoneareperfecdy
consistent
with
otherancientworks.
No toolhas been
forexample,
thatwouldhave
employed,
beenunknown
in antiquity.
Noris thefact
thatitis thesmallest
oftheGudeastatues
atall disconcerting.
Itssizeseemsquite
irrelevant
fora determination
ofitsauthensincethereareotherbothlargeand
ticity,
smallstatuesofGudea.31
Therearetwolevelsoficonography
that
arepertinent.
thetotal
Oneconcerns
oftheimageanditsconstituent
meaning
parts.Theseconddealswiththelowest
leveloficonographic
interpretation,
elements
ofpattern,
namely,
descriptive
can aid inthe
dress,etc.Iconography
determination
ofa forgery,
ifitcan be
thatcertain
proven
iconographical
aspects
aremeaningless
orinappropriate,
orpostdatethepurported
timeofexecution
of
thestatue.In dealingwiththeartofremote
sufficient
however,
antiquity,
comparative
material
thatallowsforan understanding
oftherangeofpossiblities
is frequently
Gudeafitswellintothe
lacking.The Detroit
oftherulerportrait
history
image;onlythe
handgesture
is singular.
Yetthisgesture
is
known
from
ofminor
representations
divinities
and doesnotseemtobe an
16
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fortheensito
inappropriate
gesture
assumeina reverent
state.In orderfora
before1925 tohave
forger
working
Gudea
inthisway,he would
represented
havehadtohaveknown
eithertheBerlin
steleorthestatueofAlia.Thelatter,
wasnotexcavated
until1929.
however,
therarity
ofthisparticular
Considering
form
ofthegesture
andthefactthatthe
standard
ofclaspedhandswaswell
gesture
attested
atthetime,itseemsalmosta
thata forger
wouldhavechosen
certainty
thelatter.
thetasseledfringe
onthebottom
Although
ofthemantle
wornbytheDetroit
Gudea
andthepattern
ofcurlsintheheaddress
areunknown
from
theotherextant
statues
ofGudea,theirappearancehereis totally
believable
andinnowaystrikes
a jarring
orincompatible
note.
considerations
whenappliedtothe
Stylistic
determination
ofa forgery
aremorevexing
sincetheyarein manycases subjective.
Theiruse is dependent
uponone ofthe
basictenetsofarthistory,
whichis thata
workofartcan onlybe an expression
ofits
owntime.Thisis trueevenwhenthe
creative
efforts
ofa greatmaster
seemto
breakawayfrom
traditions.
prevailing
Whentherangeofstyleinthesculpture
in
theperiodfrom
Urbabathrough
Urningirsu
is examined,
thereis littleinthestyleof
theDetroit
Gudeathatcannotbe justified.
Thevariations
hereareminorandarenot
unexpected,
yetcertainly
pointtothe
existence
in Gudea'sworkshops
ofa fine
artist.32
Ofall theconsiderations
toa
pertinent
oftheauthenticity
determination
ofthe
Detroit
is perhaps
Gudea, theinscription
It has beenstudiedin
themosttelling.
his
detailbyBendtAlster,
whosummarizes
with"we mustinevitably
conarguments
cludethatStatueM,theStocklet
Gudea
is antique."33
keptin Bruxelles,
presently
Alsterclearlydemonstrates
thatin 1925 it
wouldhavebeennexttoimpossible
fora
tohavecreatedthisinscription.
forger
Alsterexplainsthattheinscription
contains
a punandintricacies
ofSumerian
grammar
thatwouldhavebeenunknown
atthetime
theDetroit
Gudeawasfound.
The Detroit
statueofGudeais oneofthe
ofancientNearEasternart.
masterpieces
It has beenaptlyandsuccinctly
described
thegreatest
ofancient
byHenriFrankfort,
NearEasternarthistorians,
whosays"This
is a smallstatuette
ofgreenserpentine
thiseffect
is
[sic],lightandgraceful;
achievedbyan innerlogicwhichcombines
theproperties
ofthesemi-translucent
the
stone,theeleganceofthecontour,
contrast
between
thebroadshoulder
and
thenarrow
waist,andeventheunusual
As suchitis a mostwelcome
gesture."34
addition
totherichcollections
ofthe
ofArts.
Detroit
Institute
17.
Figure
ca.
Neo-Sumerian,
Two
2153-2004
B.C.,
ofa Relief;
Fragments
h.70cm(27Vfe
limestone,
Museen,
in.).Staatliche
EastBerlin.
17
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Notes
16.
i.
7.
difofsilicate
minerals
issometimes
seeFalkensteinTheidentification
There
were
rumors
that
thestatues
hadbeenfound
Forthetrade
ofLagash
under
Gudea,
Avery
25micrograms)
ficult.
small
toTello
andthat
hehad
todeSarzec's
1966(note
(lessthan
sample
2),46-54.
prior
coming
ofthe
ofa holeonthebottom
taken
from
theinside
them
from
oneCharles
Azfar.
Forthe
acquired
8.
tox-ray
diffraction
atthe
statue
wassubmitted
oftheearly
seeA.
analysis
excavations,
fascinating
history
of
was
For
a
recent
that
the
Gudea
Magan
suggestion
oftheDetroit
Conservation
Services
defouilles
Tello
Laboratory
Parrot,
(1877-1933) notOman,
campagnes
vingt
in
the
W.
"A
First
see
Step
Heimpel,
identified
in1984.G.W.
Carriveau
Institute
ofArts
14-33.
(Paris,
1919),
etdarcheologiethis
Diorite
Revue
d'assyriologie
Question,"
silicate
aluminum
asparagonite
(sodium
sample
2.
76(1982):
65-67.
orientate
tothemica
a mineral
belonging
group.
hydroxide),
inthe
evidence
isfound
Astudy
ofallthepertinent
9.
17.
DieinonGudea
work
byA.Falkenstein,
major
canbe
dream
ofGudea's
AnEnglish
translation
thebody
atthe
from
The
headhadbeenbroken
30
von
Analecta
Orientalia
Gudeas
schriften
Lagash,
of
"TheInterpretaton
inA.L.Oppenheim,
The
hands
have
now
been
reattached.
neck
and
has
oftherecent
evidence found
(Rome,
1966).Fora summary
Transactions
Near
intheAncient
Dreams
East,"
ofthe suffered
- thesurface
oftheleft
hand
is
some
und
onal-Hiba,
seeReallexikon
der
damage
Assyriologie
46
American
(Philadelphia,
Society
Philosophical
loss
theknucklesbutthegreatest
across
abraded
s.v."Lagas."
vorderasiatischen
(1983),
Archaologie
1956):245-246.
for
the
ofthestatue.
hasbeentothelower
Except
part
3.
andmost
of
feet
aremissing
heeloftheleft
both
10.
foot,
incontemporary
events
isepitomized A
Thenew
interest
time
thestatue's
Atsome
thebaseisdestroyed.
thegold
issuggested
of
hair
during
by
style
royal
type
inthestele
ofEannatum
du
(Musee Louvre,
Paris),
ofthe
holewascutinthebottom
a square
thetheRoyal
from
ofMeskalamdug
helmet
Cemetery history,
ruler
over
the
which
shows
thevictory
ofthis
tosecure
the
beinserted
so
that
a
rod
could
statue
of
Mari
of
the
statue
of
Ur
and
Lamgi-mari
King
ina visual
ofUmma
statement
city-state
neighboring
Thisrodwasapparently
for
statue
to
a
base
in
the
on
display.
Museum,
presentEuphrates
Syria),
(Aleppo
atthesame
that
andterrestrial,
isboth
yet
specific
into
a small
inturn,
Der
seeW.Orthmann,
Forillustrations,
secured,
pininserted
bya metal
daySyria.
time
supernatural.
atthebackofthestatue
14(Berlin, holedrilled
Alte
Orient
just
horizontally
, Propylaen
Kunstgeschichte
ofthefigure's
robe.
Some
thebottom
was below
thehairstyle
4.
30andV.Apparently,
specific
1975),
plates
areasfollows:
ofthestatue
ofparts
means
with
thesimple measurements
thename
ofthis
dress
andnot
with
associated
godofLagash
Curiously,
military
4'Lord
11.4cm(4yi6
width
athem
ofrobe,
Tello.
For fleeced
that
ismodern
in.);width
ofGirsu;"
a civilian
i.e.,thecity
skirt,
garment.
width
13.5cm(5yi6
theelbows,
inthe
ofLagash
thehistory
andpolitical
in.);
through
through
development
11.
the
ofcapincluding
11cm(4%6in.);width
shoulders,
"TheEarly
seeD.O.Edzard,
Dynastic
Early
period,
is
the
of
named
earliest
In
this
statues,
appellation
to
the
bottom
of
the
face
6.7
cm
brim,
inTheNear
East:TheEarly
in.);
(2%
height
Period,"
Dynastic
Inlater ofthe 4.5cm(1%in.);thickness
Entemena.
Enlilloves
short
andreads
simply
ofhatincluding
etal.(London,
Civilizations
cap,
, ed.J.Bottero
1967),
The
more
extensive.
became
thenames
atthe
ofthebody
6.1cm(2%in.);thickness
brim,
Ancient periods
J.Cooper,
52-92;
Reconstructing
History
from
inE. Solberger folded
istranslated
Entemena
inscription
ofthe
8.2cm(3%in.);thickness
hands,
Border
theLagashUmma
,
Conflict
Inscriptions:
et
sumeriennes
and
J.R.
royales
Inscriptions
Kupper,
5.4cm(2%in.).
base,
East2:1(Malibu,
theAncient
Near
from
Sources
preserved
60.
akkadiennes
1979),
(Paris,
andT.Jacobsen,
California,
7-11;
1983),
"Early
18.
inMesopotamia,"
Political
Zeitschrift
fur 12.
Development
that
leaves
a garment
IntheEarly
Dynastic
period,
inAkkad, barethe
For
wasmade
Manishtusu
ofKing
Thestatue
n.s.,18(Berlin,
1957):91ff.
Assyriologie,
worn
isprimarily
shoulder
andarm
by
ithadbeen
1966(note
where
seeFalkenstein
inSusainIran,
andLagash,
butwasfound
2),
Ningirsu
thestatue
of
inoneinstance,
however,
women;
namely
inthe
90-101.
asbooty
conqueror
byanElamite
brought
The
ruler
the
of
it
is
worn
Mari,
by
king.
Lamgi-mari
Forananalysis aswarrior
millennium.
ofthesecond
part
inorder
tofree
second
alsowears
such
a garment
5.
Uart
auMusee thearm
seeP.Amiet,
ofAkkadian
art,
dAgade
1975
see
for
Orthmann
combat,
10),
(note
it
now
that
to
a
recent
appears
study,
According
duLouvre
1976).
(Paris,
II,22,30,89b.
shorter
than
have
beeneven
plates
Gudea's
may
reign
with
the
andmay
have
13.
overlapped
thought
originally
19.
thefirst
oftheThird
oftheextant
ofUr-Nammu,
ofmost
ofphotographs
Acollection
king
reign
than
seems
narrower
Insome
thewaist
photographs
deems intended
Thisalters
somewhat Gudea
theauthor
that
ofUr(2112-2095
B.C.).
statues,
many
Dynasty
including
lineinthestone
since
a vertical
dark
falsely
inF.Johansen,
Statues
andtheunique
theview
ofthePost-Akkadian
canbefound
of
period
spurious,
thesideandwaist.
suggests
ofGudea
andUrningirsu. Gudea
achievements
Ancient
andModern
, vol.6 ofMesopotamia,
sculptural
20.
ofLagash
oftheSecond
inAssyriology
These
two
rulers
Studies
1978).
(Copenhagen,
Dynasty
Copenhagen
inBaghdad.
a body
TheheadinPhiladelphia
joins
with
for
themost
now
becontemporary,
would
part,
14.
88-91.
1978(note
SeeJohansen
13),plate
ofUr.This
would This
oftheThird
theearly
Dynasty
part
delivered
in
a
was
bySally
suggestedpaper
oftheGuti
that
theexpulsion
alsomean
byUtuhengal Johnson
ofFine 21.
attheInstitute
seminar
ina graduate
inGudea's
occurred
ofUruk
early
reign.
probably
minor
Atransliteration
andtranslation
(with
only
of
1979.
in
the
fall
New
York
Arts,
University,
"TheDateofGudea
andhis
SeeP.Steinkeller,
ofthe
"InDefense
B.Alster,
isgiven
variations)
by
Studies
15.
Journal
(inpress).
ofCuneiform
1978
inJohansen
ofa Statue
ofGudea,"
Dynasty,"
Authenticity
Revue
deGudea,"
statue
"Unenouvelle
V.Scheil,
(note
13),50-51.
6.
22(1925):
orientale
etd'archeologie
d'assyriologie
Edzard
1967(note
4),122.
22.
thestatues
Forinformation
41-43.
concerning
The
75-76.
1978(note
Johansen
55-63,
13),plates
1919
see
Parrot
the
art
from
market,
(note
acquired
55.
Alster
on
names
are
translated
page
by
30-32.
1978
and
13),
1),27; Johansen (note
18
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All use subject to JSTOR Terms and Conditions
23.
n.s.,69(Berlin,
study,
Zeitschrift
fur
Assyriologie,
Geshtinanna
must
dieanddescend
into
thenether- 1979):151.E. Miller
hasalsosuggested
that
the
world
herdeadbrother,
who
statue
isnota forgery,
toreplace
"OntheGudea
inthe
Statue
Dumuzi,
isallowed
tolivefor
half
theyear.
Inthis
Miscellanies
thereby
cycle NyCarlsberg
Glyptotek,"
Assyriological
ofmyths
Dumuzi
andthegoddess
1 (1980):
51.
Inanna, Glyptotek
concerning
identified
with
Dumuzi.
issometimes
See
Ningishzida
31.
T.Jacobsen,
TheTreasures
,AHistory
ofDarkness
of
the
Johansen
(1978[note
Apparently,
13],23)finds
Haven,
61-63,
(New
1976),
Mesopotamian
Religion
sizeofthefigure
problematic.
andFalkenstein
1966(note
104.
67-69;
2),73-74,
32.
24.
B.Schlossman
andProvincial
Only
("Metropolitan
Falkenstein
1966(note
2),101,150,154.
inMesopotamia
andtheSurrounding
Lands
in
Styles
25.
theLateThird
andEarly
Millennium
Second
B.C."
Orthmann
1975(note
30.
Columbia
has
dissertation,
10),plate
[Ph.D.
University,
1975])
considered
this
statue
from
a stylistic
ofview.
To
point
26.
the
some
of
her
observations
that
writer,
present
Theexamples
arecited
"Das
byE. Strommenger,
outtheunique
features
ofthestatue
canclearly
point
Menschenbild
inderaltmesopotamischen
not
beusedtoquestion
itsauthenticity.
justifiably
vonMesalim
bisHammurapi,"
Rundplastik
shesingles
outa very
curious
ofthe
However,
aspect
1(Berlin,
1960):65.
Baghdader
Mitteilungen
ofthefigure,
that
is,"thepeculiar
composition
27.
ofthevertical
axisseenintheback
misalignment
1975(note
X.
view."
Nomatter
Orthmann
whether
this
10),plate
highly
sophisticated
work
isbythehand
ofeither
anancient
ormodern
28.
this
is
a
difficult
trait
to
sculptor,
explain.
that
(1960[note
Strommenger
26]:64)hasremarked
allthesculptures
ofGudea
anastonishing 33.
display
tothepresent
writer
Onthecontrary,
at
Alster
toa similar
similarity.
(1978[note
21],56)comes
itisthediversity
that
isremarkable.
conclusion
theLouvre
andMetropolitan
least,
concerning
statue
ofUrningirsu,
which
hasalsobeenconsidered
29.
a modern
byJohansen.
forgery
Durand
desShakJ.-M.
("Lasituation
historique
kanakku:
nouvelle
Mori
Annates
de
34.
approche,"
4 [Paris,
Recherches
H.Frankfort,
The
Art
andArchitecture
Ancient
Interdisciplinaires
1985]:
ofthe
has
studied
theshakkanakku,
thelocal
Orient
147-172)
(Harmondsworth,
1954):48.
England,
Hehas
ofManontheEuphrates.
rulers
ofthecity
a chronology
oftherulers
that
affixes
more
proposed
ofthe
than
known
theposition
precisely
previously
inrelation
localrulers
tothekings
ofsouthern
ofthree
oftheshakkanakku
Mesopotamia.
Sculptures
arepreserved:
(Ishdub-El)
Ishtup-ilum
(Aleppo
Idi-ilum
duLouvre),
and
(Iddin-El)
(Musee
Museum),
Puzur-Eshtar
Istanbul
head,
Museum;
(body,
are
Staatliche
Durand
believes
Museen,
Berlin).
they
with
andAmar-Suen
Gudea,
contemporary
Shulgi,
respectively.
30.
andverbal
thepublished
opinions
concerning
Among
ofStrommenger
1960(note
thestatue
arethose
26):
derAssyriologie
Reallexikon
81n.502;Strommenger,
undvordemsiatischen
s.v.
1971,
Archdologie
andJohansen
1978(note
"Gudea";
13),22-23.
thestatue
is"now
comstatement
that
Johansen's
asa forgery"
isanexaggeration
monly
accepted
ina ifeview
ofJohansen's
corrected
byB.Hrouda
19
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