Naram-Sin is regarded as the emperor of the Akkadian Empire, and his reign was marked by achievement in terms of resource accumulation and army strengthening. In terms of sculpture, Naram-Sin insisted on having his carvings and drawings done on walls and caves. He hoped that by doing so, his name would be passed on from generation to generation in Mesopotamia. Gudea is another dictator whose legacy can be identified by art. He ruled the Sumerian city-state of Lagash, and his statue, architectural masterpieces in the form of temples, and carvings can be found in the region (Chapter 2, 33-45). The new temples that he erected had his paintings and drawings as a show of his authority in Lagash.
Distinctive features of Sumerian Ziggurat and the person behind the development
The Sumerian Ziggurat had steps that provided a path the linked heavens and earth. The building was considered sacred. It served as a meeting point between individuals and their gods (Chapter 2, 33-45). The architectural masterpiece rose to heights of more than 40 feet and was one of the iconic buildings designed and developed by the Sumerians. This height was attributed to its being constructed on top of other structures. Other persons involved in the development of the Sumerian Ziggurat included Babylonians, Elamites, and Akkadians.
Material used in making the Lyre and the relationship with culture
Gold, shells, silver, and bitumen were used in the construction of the Lyre bull’s head while wood was used as the piece of art’s body. The gold on the head of the bull was a symbolization of the wealth that the empire boasted of. All these material were derived from the city of Ur. Culturally, the instrument was used in the celebration of religions, especially in those festivals that were attended by the king. The bull is a representation of the sun god, Shamash that was worshiped by the people of Ur.
Work Cited
Chapter 2: Art of the Ancient Near East, History, Print.
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