Neo Assyrian Palace Art

Year 2020, Volume: 7 Issue: 4, 2102 - 2154, 30.12.2020

İsmail Coşkun , Dilara Demirtaş

Abstract

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.

Keywords

Neo Assyrian, Palace Art, Folk Art, Propaganda.

Yeni Asur Saray Sanatı

Abstract

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.

Keywords

Yeni Asur, Saray Sanatı, Halk Sanatı, Propaganda

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