By Ekrem Akurgal
Ny. 1968. Crown Publishers. 23x18. 258p.
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Extra resources for The Art of Greece: Its Origins in the Mediterranean and Near East
The fan-shaped stylization of the lower-arm muscle 99 first employed in the time of Tiglath-Pileser is now the only accepted way of showing this part of the body (Fig. 3b), and this convention Stylization of persisted in the following periods. In the plastic style the stylization of the knee- knee-cap new form (Fig. 7b). Whereas in the reliefs of the ninth century it had consisted of three rolls of equal thickness 100 (Fig. 7a), in the carvings of the time of Sargon (PI. 4) a new stylization appeared; the middle roll was reduced in size, acquired a pearl-like form and was enclosed by the upper and lower rolls meeting in the form of an arch (Fig.
Onward. Cf. PP- 30, 37. Style as vehicle for local and personal inflections fig. C. Cf. note j? No change in Assyrian art from 823 to 746 pth head-dress. and p. 31. C. art of Shamshi-Adad v (823-810) together with the stelae of Adadnirari in (809-782) In the obscure period of Assyrian history that seems to have undergone no real change. The lasts stele Museum, 67 and of the vizier of King Shalmaneser iv (78 1-772), both in the Istanbul Museum, 68 show male figures, whose head-dress, hair and beard style, arm-muscle stylization in the British and dress are just the same as those we have encountered in works of the Classical style.
Endowing the animals' countenances with the emotions of pain roaring, raging successful in 1, and wrath, anxiety and menace. In order to understand the advance that Neo-Assyrian art made in the time of Assurbanipal over the stage reached in the Classical style of the ninth century, one need only compare any horse figure of the Classical style with the mare on the relief of King Assurbanipal (PI. 5), which we have already discussed. The Assyrian animal figures of the seventh century rank among the finest achievements that exist in the visual arts.