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later there are a number of figures of large-eyed priests and worshippers, mostly in alabaster and up to a foot high, who attended temple cult images of the deity, but very few of these have survived.[28] Sculptures from the Sumerian and Akkadian period generally had large, staring eyes, and long beards on the men. Many masterpieces have also been found at the Royal Cemetery at Ur (c. 2650 BCE), including the two figures of a Ram in a Thicket, the Copper Bull and a bull's head on one of the Lyres of Ur.[29] From the many subsequent periods before the ascendency of the Neo-Assyrian Empire in the 10th century BCE Mesopotamian art survives in a number of forms: cylinder seals, relatively small figures in the round, and reliefs of various sizes, including cheap plaques of moulded pottery for the home, some religious and some apparently not.[30] The Burney Relief is an unusually elaborate and relatively large (20 x 15 inches, 50 x 37 cm) terracotta plaque of a naked winged goddess with the feet of a bird of prey, and attendant owls and lions. It comes from the 18th or 19th centuries BCE, and may also be moulded.[31] Stone stelae, votive offerings, or ones probably commemorating victories and showing feasts, are also found from temples, which unlike more official ones lack inscriptions that would explain them;[32] the fragmentary Stele of the Vultures is an early example of the inscribed type,[33] and the Assyrian Black Obelisk of Shalmaneser III a large and solid late one.[34]
The conquest of the whole of Mesopotamia and much surrounding territory by the Assyrians created a larger and wealthier state than the region had known before, and very grandiose art in palaces and public places, no doubt partly intended to match the splendour of the art of the neighbouring Egyptian empire. Unlike earlier states, the Assyrians could use easily carved stone from northern Iraq, and did so in great quantity. The Assyrians developed a style of extremely large schemes of very finely detailed narrative low reliefs in stone for palaces, with scenes of war or hunting; the British Museum has an outstanding collection, including the Lion Hunt of Ashurbanipal and the Lachish reliefs showing a campaign. They produced very little sculpture in the round, except for colossal guardian figures of the human-headed lamassu, which are sculpted in high relief on two sides of a rectangular block, with the heads effectively in the round (and also five legs, so that both views seem complete). Even before dominating the region they had continued the cylinder seal tradition with designs which are often exceptionally energetic and refined



The monumental sculpture of ancient Egypt is world-famous, but refined and delicate small works exist in much greater numbers. The Egyptians used the distinctive technique of sunk relief, which is well suited to very bright sunlight. The main figures in reliefs adhere to the same figure convention as in painting, with parted legs (where not seated) and head shown from the side, but the torso from the front, and a standard set of proportions making up the figure, using 18 "fists" to go from the ground to the hair-line on the forehead.[36] This appears as early as the Narmer Palette from Dynasty I. However, there as elsewhere the convention is not used for minor figures shown engaged in some activity, such as the captives and corpses.[37] Other conventions make statues of males darker than females ones. Very conventionalized portrait statues appear from as early as Dynasty II, before 2,780 BCE,[38] and with the exception of the art of the Amarna period of Ahkenaten,[39] and some other periods such as Dynasty XII, the idealized features of rulers, like other Egyptian artistic conventions, changed little until after the Greek conquest.[40] Egyptian pharaohs were always regarded as deities, but other deities are much less common in large statues, except when they represent the pharaoh as another deity; however the other deities are frequently shown in paintings and reliefs. The famous row of four colossal statues outside the main temple at Abu Simbel each show Rameses II, a typical scheme, though here exceptionally large.[41] Small figures of deities, or their animal personifications, are very common, and found in popular materials such as pottery. Most larger sculpture survives from Egyptian temples or tombs; by Dynasty IV (26802565 BCE) at the latest the idea of the Ka statue was firmly established. These were put in tombs as a resting place for the ka portion of the soul, and so we have a good number of less conventionalized statues of well-off administrators and their wives, many in wood as Egypt is one of the few places in the world where the climate allows wood to survive over millennia. The so-called reserve heads, plain hairless heads, are especially naturalistic. Early tombs also contained small models of the slaves, animals, buildings and objects such as boats necessary for the deceased to continue his lifestyle in the afterworld, and later Ushabti figures.[42] Facsimile of the Narmer Palette, c. 3100 BCE, which already shows the canonical Egyptian profile view and proportions of the figure Menkaura (Mycerinus) and queen, Old Kingdom, Dynasty 4, 24902472 BCE. The formality of the pose is reduced by the queen's arm round her husband Wooden tomb models, Dynasty XI; a high administrator counts his cattle Tutankhamun's mask, c. late Eighteenth dynasty, Egyptian Museum The Younger Memnon c. 1250 BCE, British Museum Osiris on a lapis lazuli pillar in the middle, flanked by Horus on the left, and Isis on the right, 22nd dynasty, Louvre


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