Araştırma Makalesi
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Neo Assyrian Palace Art

Yıl 2020, Cilt: 7 Sayı: 4, 2102 - 2154, 30.12.2020

Öz

New Assyrian art has its roots back to III BC. Art, which generally deals with hunting, war, zoning activities, mythological scenes, mostly includes propaganda. Throughout their 400 years of domination, the kings, who did not mention their defeat in their inscriptions, always function in the visual arts as invincible, powerful and the messengers of the god Asur. This understanding of art is directly proportional to political activities. Although it is not produced for a visual purpose, it is a tool that can appeal to people from almost every segment of the society in different tones. The spreading borders of the kingdom over a very large area causes the Assyrian army to not always be able to dominate the regions physically. The revolt of some kings and governors, who are representatives of Assyrian kings, against Asur requires a different method to be developed in management; "propaganda". The walls were decorated by war, hunting and religious motifs , where the ambassadors are usually hosted, serves this purpose. It is not possible to see the art of attack in the steles and obelisks placed in the squares of the cities or in the conquered areas. In the art that appeals to the public, the subjects dominated by the king, the power and the glory of the god Asur were covered. In summary, in the new Assyria, art is a collection of works produced with the effort of influencing every part of the society in a different way from the public class to the ruling class.

Kaynakça

  • ALBENDA, P., The Palace of Sargon, King of Assyria: Monumental Wall Reliefs at Dur‐Sharrukin, from Original Drawings Made at the Time of Their Discovery in 1843–1844 by Botta and Flandin, Synthese 22, Paris: Editions Recherche sur les civilisations, 1986.
  • ALBENDA, P. “The Gateway and Portal Stone Reliefes From Arslan Tash” Bulletin of the American Scoolhs of Oriental Resarch 271(1988): 5-30.
  • ALBENDA, P., Ornamental Wall Painting in the Art Of the Assyrian Empire, Leiden, 2005.
  • AKURGAL, E., Anadolu Kültür Tarihi, Ankara: Phoneix Yayınları, 2014.
  • ATAÇ, M.A., The Mythology of Kingship ın Neo-Assyrian Art Cambridge University Press, Cambridge, 2014.
  • BARNET, R.D., FALKNER, M., The Sculptures Asur-nasir-pal II (883-859 BC) Tiglath Pileser III (MÖ 745-727), Eserhaddon (681-669 BC) from the Central and South West Palace at Nimrud London, 1962.
  • BARNETT, R.D., Sculptures from The North Palace of Ashurbanipal at Niniveh (668-627 B.C.), The Trustees of The British Musueum, Oxford, 1976.
  • BACHMANN, W., Felsreliefs in Assyrien.Bawian, Maltai und Gundük. Leipzig Hinrichs, 1927.
  • BOTTA, P. E., FLANDİN, M. E., Monument de Ninive découvert et décrit par M.P.E. Botta; mesuré et dessiné par M.E. Flandin. Paris: Imprimerie, 1849.
  • BÖRKER-KLÄHN, J., Altvorderasiatische Bildstelen und vergleichbare Felsreliefs, Mainz: Philipp von Zabern, 1982.
  • CİFARELLİ, M., Enmity, Alienation and Assyrianization: The Role of Cultural Difference in the Visual and Verbal Expression of Assyrian Ideology in the Reign of Asurnasirpal II (883‐859 B.C.), New York, 1995.
  • COŞKUN, İ, “Til Tuba Savaşı ve Zafer Töreni”, Asos Journal 77 (2018): 591-600.
  • COŞKUN, İ, “Eski Yakındoğu’da Avcı Kuşlar”, Current Debates on Social Sciences Human Studies 3, (2019): 133-148.
  • CURTİS, J., READE, J., Art and Empire: Treasures from Assyrian in the British Museum, London, 1995.
  • CURTİS, J.E., TALLİS, N., The Balawat Gates of Ashurnasirpal II, London: Britisg Museum Press, 2008.
  • ÇAVUŞOĞLU, R. (2003). A Fragmentary Urartian Bronze Belt in the Diyarbakır Museum. Studi Micenei ed Egeo- Anatolici, XLV/1,(2003): 21-26.
  • ÇAVUŞOĞLU, R. (2014). Urartu Kemerleri/Urartu Belts. İstanbul: Mas Matbaası.
  • DARGA, M. Hitit Sanatı, İstanbul: Akbank Yayınları, 1992.
  • FALES, F.M., “Khinis/Bavian: Changing Models for an Assyrian Monumental Complex”, Bulletin of the Ancient Near East Vol. 1 NO. 2, (2017): 237-275.
  • FRANKFORT, H. The Art And Architecture of the Ancient Orient, London, 1970.
  • GADD, C.J. The Stones Of Assyria: The Surviving Remains Of Assyrian Sculpture, Their Recovery, And Their Original Positions, London, 1936.
  • GALİL, G., The Lower Stratum Families in the Neo Assyrian Period, British, 2007.
  • GARELLİ, P., “Problemes de strafication sociale dans l”empirie Assyrien”, Gesellschaftslassen im alten Zweistromland und in den angrenzenden Gebeieten, Munich: Verlag Bayersrichen Akademie der Wissenschaften, (1972): 73-80. GELB, I.J., “From Freedom to Slavery”, Edzard, (1972): 81-92.
  • GRAYSON, K.A., Assyrian Rulers of the Early First Millenium B.C. I (1114-859 B.C.): The Royal Inscriptions of Mesopotamia, Assyrian Periods Vol.2, Toronto, Buffalo, London: University of Toronto, 1991.
  • GÜNDÜZ, S., “M.Ö. 1. Binin İlk Yarısında Önasya Krallıklarında Araba Tekerleklerinin Özellikleri ve Yapım Teknikleri”, Belleten, c. 66, s. 247, (2002): 789-817.
  • KARLSSON, M., Early Neo Assyrian State Ideology: Relations of Power in the Inscriptions and Iconography of Ashurnasirpal II (883-859) and Shalmanaser III (858-824), Sweden, 2013.
  • KARLSSON, M., Relations of Power in Early Neo-Assyrian State Ideology, Sweden, 2016.
  • KİNG, L.W., LİTT, M.A., Bronze Reliefs from The Gates of Shalmaneser: King of Assyria BC 860-825, London, 1915.
  • KÖROĞLU, K. Eski Mezopotamya Tarihi, İstanbul: İletişim Yayınları, 2011.
  • LANDSBERGER, B. Sam'al, Studien zur Entdeckung der Ruinenstätte Karatepe, Ankara: Türk Tarih Kurumu Yayınları, 1948.
  • LAYARD, A. H., The Monuments of Nineveh: First & Second Series: Murray, 1849.
  • LAYARD, A.H., Nineveh and its Remains, 2 vols., London: John Murray, 1849b.
  • LAYARD, A.H., The Monuments of Niniveh, London, 1853.
  • LAYARD, A.H., Discoveries Niniveh and Babylon, New York, 1853b.
  • LEHMAN-HAUPT, C.F., Materialien zur älteren Geschichte Armeniens und Mesopotamiens Berlin: Weidmannsche Buchhandlung, 1906.
  • LUCKENBİLL, D., Ancient Records of Assyrian and Babylonia (LAR I-II). Chicago, 1926.
  • LOUD, G., Khorsabad, Pt. 1: Excavations in the Palace and at a City Gate, OIP 38, Chicago: Oriental Institute, 1936.
  • MALLOWAN, M.E.L., Nimrud and İts Remains, London, 1966.
  • McKEON, P. “An Akkadian Victory Stele”, Bulletin Museum of Fine Arts, 67, (1970): 226-243.
  • MEUSZYNKİ, J., Die Rekonstruktion der Reliefdarstellungen und ihrer Anordnung im Nordwestpalast von Kalhu (Nimrud). Mainz am Rhein, 1981.
  • OATES, J., OATES, D., Nimrud: An Assyrian Imperial Ciry Revealed, London: British School of Archeaology in Iraq, 2001.
  • RADNER, K., “Assyrische Handelspolitik: die Symbiose mit unabhangigen Handelszentren und ihre Kontrolle durch Assyrien,” Commerce and Monetary Systems in the Ancient World: Means of Transmission and Cultural Interaction, Melammu Symposia 5 = Oriens et Occidens 6, Wiesbaden: Steiner, (2004): 152–169.
  • PATERSON, A., Assyrian Sculptures: Palace of Sinacherib, The Hague: M. Nijhoff, 1913.
  • RADNER, K., “An Imperial Communication Network: The State Correspondence of the Neo‐Assyrian Empire”, State Correspondences of the Ancient World from the New Kingdom to the Roman Empire, Oxford and New York: Oxford University Press, (2014): 64–93.
  • RAWLİSON H.C., The Cuneiform Inscriptions of Western Asia III, London, 1870
  • READE, J., “İdeology and Propaganda in Assyrian Art”, Power and Propaganda: A Symposium on Ancient Empires, (1979): 329-344.
  • READE, J., “Rassam Obelisk”, Iraq Vol. 42 No. 1, (1980): 1-22
  • READE, J., Assyrian Sculptures, Cambridge: Harvard University Press, 1999.
  • RUSSELL, J.M., “Assyrian Art”, A Companion to Assyrian, (2017): 453-511.
  • SAA, State Archives of Assyrian.
  • SCHACHNER, A., Bilder Eines Weltreichs: Kunst- und kulturgeschichtliche Untersuchungen zu den Verzierungen eines Tores aus Balawat (Imgur-Enlil) aus der Zeit von Salmanassar III, König von Assyrien, Brepols Press, 2005.
  • SEVİN, V., Yeni Asur Sanatı I: Mimarlık, Ankara: Türk Tarih Kurumu Yayınları, 1999.
  • SEVİN,V., Asur Resim Sanatı, Ankara: Türk Tarih Kurumu Yayınları, 2010.
  • TAYLOR, J.G., “Travels in Kurdistan, with Notices of the Sources of the Eastern and Western Tigris, and Ancient Ruins in Their Neighbourhood", Journal of the Royal Geographical Society of London 35 (1865): 21-58.
  • TOLSTOY, L.N., Sanat Nedir?, Çev. Mazlum Beyhan, İstanbul: Türkiye İş Bankası Yayınları, 2000.
  • YAMADA, S., “Neo-Assyrian Trading Posts on the East Mediterranean Coast and “Ionians”: An Aspect of Assyro-Grek Contact” Prince of the Orient: Ancient Near Eastern Studies in Memory of Prince Takahito Mikasa, (2019): 221-237.
  • WİLSON, A., ALLEN, G., Khorsabad Part II: The Citadel and The Town, Chicago: The University Chicago Press, 1938.
  • WİNTER, I. J., “Art in Empire: The Royal Image and the Visual Dimensions of Assyrian Ideology”, Assyria 1995: Proceedings of the 10th Anniversary Symposium of the Neo-Assyrian Text Corpus Project, Helsinki, September 7-11, 1995 (1997): 359-381.

Yeni Asur Saray Sanatı

Yıl 2020, Cilt: 7 Sayı: 4, 2102 - 2154, 30.12.2020

Öz

Yeni Asur sanatının kökleri MÖ III. bine dayanmaktadır. Genellikle av, savaş, imar faaliyetleri, mitolojik sahneler gibi konuların işlendiği sanat, çoğunlukla propaganda içermektedir. 400 yıllık hâkimiyetleri boyunca yenilgilerinden yazıtlarında bahsetmeyen krallar görsel sanatlarda kendilerini daima yenilmez, güçlü ve Tanrı Asur’un elçisi olarak işlemektedir. Bu sanat anlayışı siyasal faaliyetler ile doğru orantılıdır. Görsel bir amaç için üretilmemesine karşın toplumun neredeyse her kesiminden insana farklı tonlarda hitap edebilen bir araçtır. Krallığın sınırlarının son derece geniş bir alana yayılması, Asur ordusunun daima fiziksel olarak bölgelere hâkimiyet kuramamasına neden olmaktadır. Asur krallarının temsilcileri olan bazı kralların ve valilerin de Asur’a karşı ayaklanması siyasal faaliyetlerde farklı bir yöntemin geliştirilmesini gerekli kılmaktadır; “propaganda”. Saraylarda, genellikle elçilerin ağırlandığı odaların duvarlarında savaş, av ve dini motiflerin süslenmesi bu amaca hizmet etmektedir. Kentlerin meydanlarına veya fethedilen bölgelere yerleştirilen steller ve obelisklerde ise saldırı sanatını görmek mümkün değildir. Halka hitap eden sanatta krallın hâkimiyet kurduğu topraklar, güç ve Tanrı Asur’un yüceliği konuları işlenmiştir. Özetle yeni Asur’da sanat halk sınıfından yönetici sınıfa kadar toplumun her kesimine farklı bir şekilde etkileme çabası ile üretilmiş eserler topluluğudur.

Kaynakça

  • ALBENDA, P., The Palace of Sargon, King of Assyria: Monumental Wall Reliefs at Dur‐Sharrukin, from Original Drawings Made at the Time of Their Discovery in 1843–1844 by Botta and Flandin, Synthese 22, Paris: Editions Recherche sur les civilisations, 1986.
  • ALBENDA, P. “The Gateway and Portal Stone Reliefes From Arslan Tash” Bulletin of the American Scoolhs of Oriental Resarch 271(1988): 5-30.
  • ALBENDA, P., Ornamental Wall Painting in the Art Of the Assyrian Empire, Leiden, 2005.
  • AKURGAL, E., Anadolu Kültür Tarihi, Ankara: Phoneix Yayınları, 2014.
  • ATAÇ, M.A., The Mythology of Kingship ın Neo-Assyrian Art Cambridge University Press, Cambridge, 2014.
  • BARNET, R.D., FALKNER, M., The Sculptures Asur-nasir-pal II (883-859 BC) Tiglath Pileser III (MÖ 745-727), Eserhaddon (681-669 BC) from the Central and South West Palace at Nimrud London, 1962.
  • BARNETT, R.D., Sculptures from The North Palace of Ashurbanipal at Niniveh (668-627 B.C.), The Trustees of The British Musueum, Oxford, 1976.
  • BACHMANN, W., Felsreliefs in Assyrien.Bawian, Maltai und Gundük. Leipzig Hinrichs, 1927.
  • BOTTA, P. E., FLANDİN, M. E., Monument de Ninive découvert et décrit par M.P.E. Botta; mesuré et dessiné par M.E. Flandin. Paris: Imprimerie, 1849.
  • BÖRKER-KLÄHN, J., Altvorderasiatische Bildstelen und vergleichbare Felsreliefs, Mainz: Philipp von Zabern, 1982.
  • CİFARELLİ, M., Enmity, Alienation and Assyrianization: The Role of Cultural Difference in the Visual and Verbal Expression of Assyrian Ideology in the Reign of Asurnasirpal II (883‐859 B.C.), New York, 1995.
  • COŞKUN, İ, “Til Tuba Savaşı ve Zafer Töreni”, Asos Journal 77 (2018): 591-600.
  • COŞKUN, İ, “Eski Yakındoğu’da Avcı Kuşlar”, Current Debates on Social Sciences Human Studies 3, (2019): 133-148.
  • CURTİS, J., READE, J., Art and Empire: Treasures from Assyrian in the British Museum, London, 1995.
  • CURTİS, J.E., TALLİS, N., The Balawat Gates of Ashurnasirpal II, London: Britisg Museum Press, 2008.
  • ÇAVUŞOĞLU, R. (2003). A Fragmentary Urartian Bronze Belt in the Diyarbakır Museum. Studi Micenei ed Egeo- Anatolici, XLV/1,(2003): 21-26.
  • ÇAVUŞOĞLU, R. (2014). Urartu Kemerleri/Urartu Belts. İstanbul: Mas Matbaası.
  • DARGA, M. Hitit Sanatı, İstanbul: Akbank Yayınları, 1992.
  • FALES, F.M., “Khinis/Bavian: Changing Models for an Assyrian Monumental Complex”, Bulletin of the Ancient Near East Vol. 1 NO. 2, (2017): 237-275.
  • FRANKFORT, H. The Art And Architecture of the Ancient Orient, London, 1970.
  • GADD, C.J. The Stones Of Assyria: The Surviving Remains Of Assyrian Sculpture, Their Recovery, And Their Original Positions, London, 1936.
  • GALİL, G., The Lower Stratum Families in the Neo Assyrian Period, British, 2007.
  • GARELLİ, P., “Problemes de strafication sociale dans l”empirie Assyrien”, Gesellschaftslassen im alten Zweistromland und in den angrenzenden Gebeieten, Munich: Verlag Bayersrichen Akademie der Wissenschaften, (1972): 73-80. GELB, I.J., “From Freedom to Slavery”, Edzard, (1972): 81-92.
  • GRAYSON, K.A., Assyrian Rulers of the Early First Millenium B.C. I (1114-859 B.C.): The Royal Inscriptions of Mesopotamia, Assyrian Periods Vol.2, Toronto, Buffalo, London: University of Toronto, 1991.
  • GÜNDÜZ, S., “M.Ö. 1. Binin İlk Yarısında Önasya Krallıklarında Araba Tekerleklerinin Özellikleri ve Yapım Teknikleri”, Belleten, c. 66, s. 247, (2002): 789-817.
  • KARLSSON, M., Early Neo Assyrian State Ideology: Relations of Power in the Inscriptions and Iconography of Ashurnasirpal II (883-859) and Shalmanaser III (858-824), Sweden, 2013.
  • KARLSSON, M., Relations of Power in Early Neo-Assyrian State Ideology, Sweden, 2016.
  • KİNG, L.W., LİTT, M.A., Bronze Reliefs from The Gates of Shalmaneser: King of Assyria BC 860-825, London, 1915.
  • KÖROĞLU, K. Eski Mezopotamya Tarihi, İstanbul: İletişim Yayınları, 2011.
  • LANDSBERGER, B. Sam'al, Studien zur Entdeckung der Ruinenstätte Karatepe, Ankara: Türk Tarih Kurumu Yayınları, 1948.
  • LAYARD, A. H., The Monuments of Nineveh: First & Second Series: Murray, 1849.
  • LAYARD, A.H., Nineveh and its Remains, 2 vols., London: John Murray, 1849b.
  • LAYARD, A.H., The Monuments of Niniveh, London, 1853.
  • LAYARD, A.H., Discoveries Niniveh and Babylon, New York, 1853b.
  • LEHMAN-HAUPT, C.F., Materialien zur älteren Geschichte Armeniens und Mesopotamiens Berlin: Weidmannsche Buchhandlung, 1906.
  • LUCKENBİLL, D., Ancient Records of Assyrian and Babylonia (LAR I-II). Chicago, 1926.
  • LOUD, G., Khorsabad, Pt. 1: Excavations in the Palace and at a City Gate, OIP 38, Chicago: Oriental Institute, 1936.
  • MALLOWAN, M.E.L., Nimrud and İts Remains, London, 1966.
  • McKEON, P. “An Akkadian Victory Stele”, Bulletin Museum of Fine Arts, 67, (1970): 226-243.
  • MEUSZYNKİ, J., Die Rekonstruktion der Reliefdarstellungen und ihrer Anordnung im Nordwestpalast von Kalhu (Nimrud). Mainz am Rhein, 1981.
  • OATES, J., OATES, D., Nimrud: An Assyrian Imperial Ciry Revealed, London: British School of Archeaology in Iraq, 2001.
  • RADNER, K., “Assyrische Handelspolitik: die Symbiose mit unabhangigen Handelszentren und ihre Kontrolle durch Assyrien,” Commerce and Monetary Systems in the Ancient World: Means of Transmission and Cultural Interaction, Melammu Symposia 5 = Oriens et Occidens 6, Wiesbaden: Steiner, (2004): 152–169.
  • PATERSON, A., Assyrian Sculptures: Palace of Sinacherib, The Hague: M. Nijhoff, 1913.
  • RADNER, K., “An Imperial Communication Network: The State Correspondence of the Neo‐Assyrian Empire”, State Correspondences of the Ancient World from the New Kingdom to the Roman Empire, Oxford and New York: Oxford University Press, (2014): 64–93.
  • RAWLİSON H.C., The Cuneiform Inscriptions of Western Asia III, London, 1870
  • READE, J., “İdeology and Propaganda in Assyrian Art”, Power and Propaganda: A Symposium on Ancient Empires, (1979): 329-344.
  • READE, J., “Rassam Obelisk”, Iraq Vol. 42 No. 1, (1980): 1-22
  • READE, J., Assyrian Sculptures, Cambridge: Harvard University Press, 1999.
  • RUSSELL, J.M., “Assyrian Art”, A Companion to Assyrian, (2017): 453-511.
  • SAA, State Archives of Assyrian.
  • SCHACHNER, A., Bilder Eines Weltreichs: Kunst- und kulturgeschichtliche Untersuchungen zu den Verzierungen eines Tores aus Balawat (Imgur-Enlil) aus der Zeit von Salmanassar III, König von Assyrien, Brepols Press, 2005.
  • SEVİN, V., Yeni Asur Sanatı I: Mimarlık, Ankara: Türk Tarih Kurumu Yayınları, 1999.
  • SEVİN,V., Asur Resim Sanatı, Ankara: Türk Tarih Kurumu Yayınları, 2010.
  • TAYLOR, J.G., “Travels in Kurdistan, with Notices of the Sources of the Eastern and Western Tigris, and Ancient Ruins in Their Neighbourhood", Journal of the Royal Geographical Society of London 35 (1865): 21-58.
  • TOLSTOY, L.N., Sanat Nedir?, Çev. Mazlum Beyhan, İstanbul: Türkiye İş Bankası Yayınları, 2000.
  • YAMADA, S., “Neo-Assyrian Trading Posts on the East Mediterranean Coast and “Ionians”: An Aspect of Assyro-Grek Contact” Prince of the Orient: Ancient Near Eastern Studies in Memory of Prince Takahito Mikasa, (2019): 221-237.
  • WİLSON, A., ALLEN, G., Khorsabad Part II: The Citadel and The Town, Chicago: The University Chicago Press, 1938.
  • WİNTER, I. J., “Art in Empire: The Royal Image and the Visual Dimensions of Assyrian Ideology”, Assyria 1995: Proceedings of the 10th Anniversary Symposium of the Neo-Assyrian Text Corpus Project, Helsinki, September 7-11, 1995 (1997): 359-381.
Toplam 58 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

İsmail Coşkun 0000-0001-9265-4949

Dilara Demirtaş 0000-0003-2347-8229

Yayımlanma Tarihi 30 Aralık 2020
Kabul Tarihi 10 Ocak 2021
Yayımlandığı Sayı Yıl 2020 Cilt: 7 Sayı: 4

Kaynak Göster

APA Coşkun, İ., & Demirtaş, D. (2020). Yeni Asur Saray Sanatı. Akademik Tarih Ve Düşünce Dergisi, 7(4), 2102-2154.

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