Out of Babylon: Analysis of the Ishtar Gate and Pergamon Altar
Separated by approximately 400 years in history, the Ishtar Gate and the Pergamon Altar were both considered wonders of the ancient world. Eccentric rulers, Nebuchadnezzar II and Eumenes II, commissioned their grand-scale projects to publicly display their power and prestige, and that of their city-state, through grandiose architecture and artistry. Under their rule, Babylon (Neo-Babylonian dynasty) and Hellenistic Pergamon blossomed into centers of military power, arts and culture. While they are both remarkable architectural achievements in history I am specifically interested in the underlying themes of religion, politics, and cultural identity that they share. Through comparison of the Ishtar Gate and Pergamon Altar, I hope to gain a well-rounded understanding of the societal values of the Mesopotamian and Greek cultures.
The Ishtar Gate currently stands (housed in part) in the Pergamon Museum of Berlin, Germany. The majestic blue glazed brick with gold reliefs captivate the eye and draw in hundreds of visitors each day. In its prime (c.575 BCE) the Ishtar Gate stood for Babylon—a beautiful Mesopotamian capital of military prestige, arts and culture in the ancient world. Built to invoke feelings of awe in its size and grandeur, its no
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During Eumenes’ reign much of the Anatolia region was taken under Roman control. In exchange for his continued power in Pergamon with military protection and funding, Eumenes declared allegiance to Rome. The altar, constructed shortly after his new allegiance, appears to be making a political statement illustrating that the Greeks still maintained a piece of their autonomy—sic’ing their Gods on threatening forces. However, not even the grip of Zeus could hold onto the shrinking empire and it eventually fell completely to Roman
The significance of monumental architecture lies not only in the function it is built to serve but also in the cultural values it represents. Monumental architecture is aesthetic as well as functional, and in its aesthetic aspects it is a form of cultural expression. In Bronze Age Mediterranean civilizations, the development of monumental architecture was influenced primarily by the political structure of the state. Perhaps the most disparate forms of monumental architecture in this region were developed in Pharaonic Egypt and Minoan Crete, reflecting the differences in their political systems. The socio-political structure of these two cultures can be sharply contrasted through an examination of a predominant type of monumental architecture found in each region.
The Hagia Sophia and the Dome of the Rock are two of some of the greatest and most important monuments in the Eastern and the modern world. The Hagia Sophia is an amazing depiction of the Byzantine architecture. It symbolizes the “Golden era” of the Byzantine Empire and is a symbol of modern day Istanbul. The Dome of the Rock is located in Jerusalem. The Dome of the Rock is currently a shrine for Islamic believers and some Jews that believe the grounds are sacred. It holds a great religious significance to the rise of Islam in Jerusalem. Even though these major achievements in architecture were built at different times and were built with different styles, they hold many similarities. These similarities include such fascinating examples of
Hause, S., & Maltby, W. (2001). The Ancient Near East: Mesopotamia, Egypt, Phoenicia and Israel. Essentials of Western Civilization (pp.7-15). California: Wadsworth.
Over the history of man, there have been many prosperous empires that ruled in different parts of the world. Babylon and Egypt are two of these empires that ruled almost 500 years apart, but had one thing in common, great artistic works. Wall paintings such as the Babylonian work Investiture of Zimrilim, and the Egyptian Queen Neferati Making an Offering to Isis are examples of the great works of their times. Both pieces are rich in meaning and background, share many similarities, but differences can be seen in their style due to the time periods.
The Ishtar Gate to the city of Babylon stood as a testament to the aim of King Nebuchadnezzar II to rebuild the ancient city of Babylon as the most grandiose and magnificent of the ancient world’s cities. Citizens of the neo-babylonian empire were the first to bear witness to its grandeur and were likely the best equipped to appreciate the aesthetics contributing to its religious meaning. Given that it was a main entrance to the central capital of Babylon, the gate could have been seen by citizens of different social classes and levels of education, and in turn may have conveyed different meanings to different classes of citizens. In the eyes of a merchant or artisan, the brilliant blue faience bricks adorned with religiously symbolic animals
...r. "Ancient Greece." Gardner's art through the ages the western perspective. 13th ed., Backpack ed. Boston, Mass.: Wadsworth Cengage Learning, 2010. 101, 123,129. Print.
One of the great things about America is the fact that it echoes previous centuries in ways that not many people would expect. Due to its diversity, it is thought of as a melting pot because it is filled with all kinds of culture and people from all over the world. But instead of this stereotypical metaphor, America can be thought of as the place where world architecture has not died, but instead has continued to thrive in a way that makes it suitable towards modern expectations. Greek architecture has been one of the most commonly used within this context. Although it emerged almost 3,000 years ago, the application of their architecture is still widely used today in places that aren’t Europe. We can see evidence of this through America’s government and financial buildings such as the Georgia’s Chamber of Commerce, the Capitol and even more commonly known, the White House. The White House is a major symbol of the United States and when bystanders observe its white walls, they not only a building of high status among the American people, but they also catch a glimpse into the past of centuries worth of influential architecture.
Prior to the advent of Greek navies, Thucydides claims that “wars by land there were none, none at least by which power was acquired; we have the usual border contests, but of distant expeditions with conquest the object we hear nothing among the Hellenes” (I.15.2).... ... middle of paper ... ... The privations and suffering war forces people to turn their attention to themselves and lose sight of the good of their city, just as Pericles predicted it would, and without a leader like him willing to direct them away from this mindset rather than pander to it to get votes, the political constitution of the city was doomed to dissolve.
The Oriental Institute featured an exhibit focused on the development of ancient Middle East Pioneers to the Past: American Archaeologists in the Middle East 1919–20 January 12 - August 29, 2010. And this was the exhibit I found most intriguing and most i...
Babylon is even home to one of the Seven Wonders of the World, The Hanging Gardens of Babylon. They are in the plalace of Nebuchadnezzar II. The gardens were built on 23 metre tall and being water by a very complicated watering system, the water being provided by The Euphrates River. They were a mountain like series of planted terraces. Excavations have found the elaborate pully system watering the gardens right up to the top terrace.
Sontag says that throughout history, things focused on in art and history tend to be the "product of wrath, divine or human." There is much art showing the suffering of Christ and the executions of Christian martyrs. These pictures are supposed to bring up emotion strong enough to make people have faith. "The viewer may commiserate with the sufferer's pain . . . feel admonished or inspired to model faith and fortitude." This is an example of protesting suffering. There are also many violent and disturbing things shown in the pagan myths. These are different because "no moral charge attaches to the
The artworks of Mesopotamia, Ancient Egypt, the Aegean cultures, and Ancient Greece have similarities that not only reflect objects and images, but also the media, style and representation. These countries were not always wealthy, clever, creative and powerful enough to gain supplies, but they all find a way to create art with what they had. They have all influenced on each other’s cultures and belief through their artistic values and ways, ranging from the materials and tools they use, position and representation of their monuments and their religious intent.
The end of the Geometric period resulted in the beginning of the Orientalizing Period, dated between 700-600 BC. Within this time frame, Greek introduced a new innovation, the Peripteral Temple. For many years prior, a row of colonnade was used on the interior primarily to hold up the roof of the building. In contrast, columns are seen being used on the outside, creating a visual wall around the building exposing parts of the interior. With in the temple existed the megaron style, carried forward from Bronze Age homes. It was also in eastern influenced period, the first real stone temples, and terra cotta roof tiles came to exist to hold the weight on these new stone temples. The population grew drastically, introducing new techniques and styles, which blended to form designs with balance and symmetry. It was during this period, two major Greek designs were developed, the Ionic and Doric order. (Pedley, 2012: pg. 180) The Doric order, being the first and most simple, consisted of baseless columns placed closely together as the Greeks did not know how much weight the shortened columns could hold. Reason behind this was the lack of length in the columns were believed to hold less weight and therefore forced into being placed closer together. This closely set arrangement created a very bold statement in the Doric temple. The Capital, which sat on top of the concaved shaped shaft, was left plain but when grouped alongside others, suggested a bold harmony. In contrast, the Ionic order was less bulky and more delicate than the Doric order. The top of the capital is decorated with two scrolls, also known as volutes, which could have resembled a shell or animal horns. Above the capital, held room for a surrounding frieze depictin...
The sculpture is a good example of the recurring trends and subjects that were prevalent in the art of the Hellenistic period. Darker subjects, such as death, pain and sorrow, were just as popular as the more optimistic themes of patriotism, courage, and heroism. Usually these themes were explored in relation to intense events such as wars. Interestingly, the sculpture of the dying Gaul touches on themes related to pain, suffering, valor, patriotism, and death at the same time. Even though the agony communicates visibly to the viewer by the crooked lines on the dying Gaul’s forehead, painful eyes, its genital...
In the following essay, I will be comparing and contrasting to architectural pieces by the Indians. The first is the Taj Mahal, a building constructed from white marble that took seventeen years to build in honor of Shah Jahan’s wife, Mumtaz Mahal (Z. Haq). This piece of architectural beauty belonged to the Mughal’s, the Muslim emperors in India (Z. Haq). The second is the Great Stupa at Sanchi, a holy, dome shaped structure that covers the body of the Buddha in honor of him and his contributions to Buddhism (Fischer, Julia). Furthermore, this structure was made of ruins, rocks, mud, and covered in bricks (Fischer, Julia). Both pieces of architecture are significant to the Indians, however they do contrast in some ways.