Stele Of The Vultures Analysis

The Stele of the Vultures represents a commemoration of a victorious battle led by Eannatum, ruler of the city-state Lagash, over the neighboring city-state, Umma. Its precise depictions convey both a celebration of victory and an acknowledgement of the aid by the accompanying warrior-god, Ningirsu (Gates 41). In contrast, Naram-Sin—ruler of the Akkadian Empire—is depicted in his own stele which takes an audacious step further to proclaim himself as a nearly divine figure. The two authoritative figures’ distinctive messages lead to the intricate examination of why they differed in such a way. An interesting question to ask oneself concerns what these rulers were trying to inspire in their followers these distinct depictions. This paper presents

However, a second image depicts him alongside the warrior-god Ningirsu, the “patron deity of Eannatum, [who] has trapped [the] enemies in a net” (Gates 41). The artifact endorses the collaborative triumph of man with god, later regarded as a “staple” of art in Ancient Near East (Gates 41). It is important to realize that Eannatum does not take full credit of the victory, he recognizes that he must pay respects to the gods who have helped him be victorious (Hilker 1/1). Ningirsu is shown to be larger than any other figure in the image—conveying Eannatum as a ruler of the people, but subservient to the god. Eannatum is most likely inciting a sense of legitimization through the depictions of his close contact with the deities. The fact that Ningirsu chose to interfere and trap the enemies, suggests that he approves of Eannatum’s ruling. Additionally, the religious temples dedicated to the deities were significant centers and the rulers were usually “in control of the organization of the temple” (CP 25). The first-hand interactions Eannatum had with Ningirsu, enables the people to suspect that his ruling decisions were direct orders from the god. The people therefore understand that defying Eannatum would mean that they are defying

The two-meter tall slab of pink sandstone commemorates the Akkadian victory over the mountain people of Lullubi (Gates 53). The stele’s martial theme is similar to “earlier Near Eastern art, but the composition of the scene differs” from the ones previously seen (Gates 53). Naram-Sin is depicted, standing in the high hills above everyone else. He was shown wearing a horned helmet, a symbol of divinity, while a vast collection of defeated enemies lie “wounded or dead at his feet” (Gates 53). The relief itself serves as a type of propaganda that not only legitimizes his power, but also illustrates that he has become a god (Hilker 2/2). The striking depiction conveys a unique message—the pronounced sense of power suggests that Naram-Sin may have ran a more strict regime that was centered around servicing both the god and himself as the divine ruler. On the other hand, the people under Eannatum were possibly within a more communal environment where everyone, including the ruler himself, looked up to the god for assistance and