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(piano music)
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-Ancient Mesopotamia is
often credited as the
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cradle of civilization,
that is, the place where
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farming and cities began.
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It makes it seem so peaceful, but this was
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anything but the case.
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In fact, it was really a
series of civilizations
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that conquered each other.
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-We're in a room in the Louvre filled with
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sculpture from the
Assyrians, who controlled
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the ancient Near East from about 1000 BCE
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to around 500 BCE.
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-And these sculptures
in particular come from
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the palace of Sargon the
2nd, and we're carved
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at the height of Assyrian civilization in
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the 8th century BCE.
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-So this is modern day Khorsabad.
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-In Iraq.
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-And various Assyrian
kings established palaces
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at different cities.
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So there were palaces at Nimrid and Assur
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before this, and after there'll be
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a palace at Nineveh, but
these sculptures come
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from an excavation from
modern day Khorsabad.
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-The most impressive
sculptures that survive
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are the guardian figures
that protected the city's
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gates, and protected the
gates of the citadel itself.
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That is, the area within
which were both the temple
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and the royal palace.
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-So at each of these
various gates, there were
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guardian figures that
were winged bulls with
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the heads of men.
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-We think they were called Lamassu.
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-As figures that stood at
gateways, they make sense.
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They're fearsome, they look powerful.
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They could also be an
expression of the power
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of the Assyrian king.
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-They are enormous, but
even they would have
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been dwarfed by the architecture.
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They would have stood between huge arches.
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In fact, they had some structural purpose.
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It's interesting to
note that each of these
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Lamassu are actually
carved out of a monolithic
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stone, that is, there are no cuts here.
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These are single pieces
of stone, and in the
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ancient world, it was no
small task to get these
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stones in place.
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-Well, and apparently,
there were relief carvings
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in the palace that depicted
moving these massive
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Lamassu into place.
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So it's important to
remember that the Lamassu
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were the gateway figures,
but the walls of the
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palace were decorated
with relief sculpture
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showing hunting scenes and other scenes
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indicating royal power.
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-This is a Lamassu that
was actually a guardian
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for the exterior gate of the city.
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It's in awfully good condition.
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-Well my favorite part is the crown.
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It's decorated with
rosettes, and then double
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horns that come around
toward the top center,
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and then on top of that,
a ring of feathers.
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-It's really delicate for such a massive
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and powerful creature.
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The faces are extraordinary.
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First of all, just at
the top of the forehead,
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you can see kind of incised
wavy hair that comes
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just below the crown, and then you have
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a connected eyebrow.
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-And then the ears are the ears of a bull
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that wear earrings.
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-Actually quite elaborate earrings.
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-Well the whole form is so decorative.
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-And then there's that marvelous, complex
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representation of the beard.
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You see little ringlets
on the cheeks of the face,
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but then as the beard comes down, you see
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these spirals that turn downward, and then
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are interrupted by a
series of horizontal bands.
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-And then the wings too
form this lovely decorative
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pattern up the side of
the animal, and then
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across it's back.
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-In fact across the body
itself there are ringlets
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as well, so we get a sense
of the fur of the beast.
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And then under the creature,
and around the legs,
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you can see inscriptions in cuneiform.
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-Some of which declare
the power of the king.
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-And damnation for those
that would threaten
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the king's work, that is, the citadel.
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-What's interesting too
is that these were meant
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to be seen both from a frontal view and
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a profile view.
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-Well if you count up the number of legs,
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there's one too many.
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There are five.
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-Right, two from the front,
and four from the side,
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but of course, one of
the front legs overlaps,
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and so there are five legs.
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-What's interesting is
that when you look at the
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creature from the side,
you actually see that
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it's moving forward,
but when you look at it
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from the front, those two legs are static
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so the beast is stationary.
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And think about what
this means for a guardian
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figure at a gate.
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As we approach, we see
it still, watching us
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as we move, but if we
belong, if we're friendly,
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and we're allowed to pass
this gate, as we move
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through it, we see the animal itself move.
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-And then we have this
combination of these
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decorative forms that
we've been talking about
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with a sensitivity to the anatomy of this
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composite animal.
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His abdomen swells, and
his hindquarters move
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back, and then we can see
the veins, and muscles,
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and bones in his leg.
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-So there really is
this funny relationship
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between the naturalistic
and the imagination
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of the sculpture.
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-And the decorative,
but all speaking to the
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power, the authority of the
king and the fortifications
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of this palace, and this city.
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-They are incredibly impressive.
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It would be impossible
to broach the citadel
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without being awestruck by the power
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of this civilization.
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(piano music)