Week Three Post

Art of the Ancient Near East

Week #3 Post: Formal Analysis of the Guardian Figures of Gate A of the Citadel of Sargon II

The gates of the palaces of ancient rulers often were guarded by figures carved in stone.  These figures could depict local guardian deities as powerful beasts such as lions and bulls, images of rulers of the past or perhaps a mixture of these.  Much of the time they were very large to show the strength and wealth of the ruler.  The ruler could have been trying to intimidate rivals in this way.  Animals and hybrids had symbolic meanings, something like modern football mascots, except warriors fought and died for their ruler’s power and territory.  One area, era or ruling family could identify lions as their guardian spirit and another would identify with the bull.   The figures could have had sharp teeth or a terrifying snarl but the figures that guarded gate A of the Citadel of Sargon represent a benevolent strength, not one meant to terrify.

The massive sculptures are carved in high to medium relief from stone to make their presence felt as independent beings and yet they were part of the gate they guarded.   Most of the lines of the figures are reassuringly rounded and curved with only a few straight lines.  The hooves and legs of the figures are quite obviously bovine and sturdy, realistically carved, rooted in place from the front view but the side view is of a bull’s body walking with a certain ponderous delicacy.   This illusion is accomplished by adding a fifth leg which is not too noticeable from a straight frontal view; as the opposite foreleg isn’t visible from the side.  The rhythmic impression of them is something like a lane of small tree trunks.  The stone-carver(s) knew that their sculpture would be viewed at a greater distance and for more time as one approached the gate.  The figures then would be observed with more concentration on details as a passer-by came alongside of the figures.  The bulls’ decorative trappings are for festival rather than war as they resemble bells, pompoms or bits of jingling metal instead of armor.  The tail seems like a decorated tassel rather than the utilitarian fly-swatter of the real animal.   The feathers of the wings are quite delicately carved of a low relief and the wings are extended, yet this creature doesn’t look as if it will take flight, it’s more as if it is opening its wings to protect those who come through the entrance of the palace.

The upper parts of the figures show somewhat more weathering than the lower parts since it is likely that the sand or soil that was excavated from the site covered and protected the lower sections for more time.   The human, bearded male faces are sculpted as if growing from the figures in about the place a bull’s head would be in nature.  They look down on those approaching with a neutral, tolerant expression the mouths do not smile or frown.  The eyes are wide open and watchful but not very expressive otherwise. The crown is encircled by triple horns that appear to surround the brow in much the style of some larger turbans such as modern Sikhs still wear.  There is a kind of decorative head covering below the horns.  The beard appears curled or braided in the usual beard-style of that era but may be extended or decorated by horizontal lines.   There is a chest piece below the head which might be an ornamental piece or the curling hair of a bull’s throat.

These sculptures, with their combination of Earthly solidity carved from stone and the implied lightness of the winged figure are meant to convey a sense of security and safety to those entering the citadel.  The large size, bull’s strength and the watchful but benevolent expression of the human faces reassure those coming through the gate that the feathers of the figures’ wings will shield them from harm.     The non-war-like aspect of the figures’ decoration also reassured a closer observer.  The leg’s position and the fact that there were five of them meant that the figures were meant to be seen from directly in front and directly from the side without any other angles considered.  It was necessary for the artists to do this because they wanted the effect of motion flowing away from the viewer once he or she had passed to the side of the figure to emphasize the non-threatening pose.