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Established in 1918, the Fox School of Business at Temple University is the largest, most comprehensive business school in the Greater Philadelphia region. Temple is a top-ranked research university. A leader in education, science, healthcare and the arts, we are the powerhouse that charges the Philadelphia region. More than 4,000 years ago the valleys of the Tigris and Euphrates rivers began to teem with life--first the Sumerian, then the Babylonian.
Art and Architecture. More than 4,0. 00 years ago the valleys of the Tigris and Euphrates rivers began to teem with life- -first the. Sumerian, then the Babylonian, Assyrian, Chaldean, and Persian empires. Here too excavations have unearthed evidence of great skill and artistry. Stone, wood, and metal was imported. Rag Doll watch online with subtitles in 2160p more. Sumerian art and architecture was ornate and complex - primarily used for religious purposes - painting and sculpture the main median used.
Some of the portraits are in marble, others, such as the one in the Louvre in Paris, are cut in gray- black diorite. Dating from about 2. BC, they have the smooth perfection and idealized features of the classical period in Sumerian art. Sumerian techniques and motifs were widely available because of the invention of cuneiform writing before 3.
B. C. He represents the god of vegetation. The next tallest represents a mother goddess- mother goddesses were common in many ancient cultures. The smallest figures are worshippers - a definite hierarchy of size. This is an example of artistic iconography. This is a pose of supplication- wanting or waiting for something. The characters consist of arrangements of wedge- like strokes, generally on clay tablets.
The history of the script is strikingly like that of the Egyptian hieroglyphic. No clearly identifiable cult statues of gods or goddesses have yet been found. Many of the extant figures in stone are votive statues, as indicated by the phrases used in the inscriptions that they often bear: . It shows men entering the presence of his gods, specifically a cult goddess Innin (Inanna), represented by two bundles of reeds placed side by side symbolizing the entrance to a temple. The detailed drawing above was made from tracing a photograph (from Campbell, Shepsut) of the temple vase found at Uruk/Warka, dating from approximately 3. BCE. It is over one meter (nearly 4 feet) tall. On the upper tier is a figure of a nude man that may possibly represent the sacrificial king.
Temple College offers top-quality education right here in Central Texas and is recognized as a national leader among community colleges. We are dedicated to providing. Watch full movie Chasing Unicorns in english with subtitles in 2k. Temples are the places of worship in Japanese Buddhism. Virtually every Japanese municipality has at least one temple, while large cultural centers like Kyoto have.
He approaches the robed queen Inanna. Inanna wears a horned headdress. A group of nude priests bring gifts of baskets of gifts, including, fruits to pay her homage on the lower tier. This vase is now at the Iraq Museum in Bagdad. B. C., Iraq Museum, Baghdad. Inanna in the Middle East was an Earth and later a (horned) moon goddess; Canaanite derivative of Sumerian Innin, or Akkadian Ishtar of Uruk.
Ereshkigal (wife of Nergal) was Inanna's (Ishtar's) elder sister. She descended from the heavens into the hell region of her sister- opposite, the Queen of Death, Ereshkigal. And she sent Ninshubur her messenger with instructions to rescue her should she not return. The seven judges (Annunaki) hung her naked on a stake. Ninshubar tried various gods (Enlil, Nanna, Enki who assisted him with two sexless creatures to sprinkle a magical food and water on her corpse 6. Tamar, taw- mawr', from an unused root meaning to be erect, a palm tree).
She ended up as Annis, the blue hag who sucked the blood of children. Inanna in Egypt became the goddess of the Dog Star, Sirius which announced the flood season of the Nile. B. C., Iraq Museum, Baghdad and Oriental Institute, University of Chicago. They are often naked above the waist and wear a woolen skirt curiously woven in a pattern that suggests overlapping petals (commonly described by the Greek word kaunakes, meaning .
A toga- like garment sometimes covers one shoulder. Men generally wear long hair and a heavy beard, both often trimmed in corrugations and painted black. The eyes and eyebrows are emphasized with colored inlay. The female coiffure varies considerably but predominantly consists of a heavy coil arranged vertically from ear to ear and a chignon behind.
A headdress of folded linen sometimes conceals the hair. Ritual nakedness is confined to priests. The Egyptians quarried their own stone in prismatic blocks, and one can see that, even in their freestanding statues, strength of design is attained by the retention of geometric unity. By contrast, in Sumer, stone must have been imported from remote sources, often in the form of miscellaneous boulders, the amorphous character of which seems to have been retained by the statues into which they were transformed.
One very notable group of figures, from Tall al- Asmar, Iraq (ancient Eshnunna), dating from the first of these phases, shows a geometric simplification of forms that, to modern taste, is ingenious and aesthetically acceptable. Statues characteristic of the second phase on the other hand, though technically more competently carved, show aspirations to naturalism that are sometimes overly ambitious. In this second style, some scholars see evidence of occasional attempts at portraiture. Their provenance is not confined to the Sumerian cities in the south. An important group of statues is derived from the ancient capital of Mari, on the middle Euphrates, where the population is known to have been racially different from the Sumerians.
In the Mari statues there also appears to have been no deviation from the sculptural formula; they are distinguished only by technical peculiarities in the carving. Fine examples of metal casting have been found, some of them suggesting knowledge of the cire perdue (lost- wax) process, and copper statues more than half life- size are known to have existed.
In metalwork, however, the ingenuity of Sumerian artists is perhaps best judged from their contrivance of composite figures. It is the limestone face of a life- size statue (Iraqi Museum, Baghdad), the remainder of which must have been composed of other materials; the method of attachment is visible on the surviving face. The refinement of craftsmanship in metal is also apparent in the famous wig- helmet of gold (Iraqi Museum), belonging to a Sumerian prince, and in weapons, implements, and utensils. In the final phase of the Early Dynastic period, its style became conventional. The most common form of relief sculpture was that of stone plaques, 1 foot (3.
Fragments of more ambitious commemorative stele have also been recovered; the Stele of Vultures (Louvre Museum) from Telloh, Iraq (ancient Lagash), is one example. Although it commemorates a military victory, it has a religious content.
The most important figure is that of a patron deity, emphasized by its size, rather than that of the king. The formal massing of figures suggests the beginnings of mastery in design, and a formula has been devised for multiplying identical figures, such as chariot horses. Used for the same purposes as the more familiar stamp seal and likewise engraved in negative (intaglio), the cylinder- shaped seal was rolled over wet clay on which it left an impression in relief.
Delicately carved with miniature designs on a variety of stones or shell, cylinder seals rank as one of the higher forms of Sumerian art. Still only partially understood, their skillful adaptation to linear designs can at least be easily appreciated. Some of the finest cylinder seals date from the Protoliterate period (see photograph). After a slight deterioration in the first Early Dynastic period, when brocade patterns or files of running animals were preferred (see photograph), mythical scenes returned.
Conflicts are depicted between wild beasts and protecting demigods or hybrid figures, associated by some scholars with the Sumerian epic of Gilgamesh. The monotony of animated motifs is occasionally relieved by the introduction of an inscription. Conscious attempts at architectural design during this so- called Protoliterate period (c. BC) are recognizable in the construction of religious buildings. There is, however, one temple, at Abu Shahrayn (ancient Eridu), that is no more than a final rebuilding of a shrine the original foundation of which dates back to the beginning of the 4th millennium; the continuity of design has been thought by some to confirm the presence of the Sumerians throughout the temple's history. BC), this temple anticipated most of the architectural characteristics of the typical Protoliterate Sumerian platform temple.
It is built of mud brick on a raised plinth (platform base) of the same material, and its walls are ornamented on their outside surfaces with alternating buttresses (supports) and recesses. Tripartite in form, its long central sanctuary is flanked on two sides by subsidiary chambers, provided with an altar at one end and a freestanding offering table at the other. Interior wall ornament often consists of a patterned mosaic of Terra cotta cones sunk into the wall, their exposed ends dipped in bright colors or sheathed in bronze. An open hall at the Sumerian city of Uruk (biblical Erech; modern Tall al- Warka', Iraq) contains freestanding and attached brick columns that have been brilliantly decorated in this way. Alternatively, the internal- wall faces of a platform temple could be ornamented with mural paintings depicting mythical scenes, such as at 'Uqair.
It is known that two of the platform temples originally stood within walled enclosures, oval in shape and containing, in addition to the temple, accommodation for priests. But the raised shrines themselves are lost, and their appearance can be judged only from facade ornaments discovered at Tall al- 'Ubayd. These devices, which were intended to relieve the monotony of sun- dried brick or mud plaster, include a huge copper- sheathed lintel, with animal figures modeled partly in the round; wooden columns sheathed in a patterned mosaic of colored stone or shell; and bands of copper- sheathed bulls and lions, modeled in relief but with projecting heads. The planning of ground- level temples continued to elaborate on a single theme: a rectangular sanctuary, entered on the cross axis, with altar, offering table, and pedestals for votive statuary (statues used for vicarious worship or intercession). Circular brick columns and austerely simplified facades have been found at Kish (modern Tall al- Uhaimer, Iraq).