Assyrian Manes Analysis

First and foremost in taking this systematic approach, our eyes gravitate towards the rounded Assyrian crown being worn on its head, calling to mind some connotations of high regality. The “hairpiece” falls in layers of sorts, extended down around the ear(s) and encompassing the back of the head and neck. The hair itself slides out naturally, forming in dreaded, distinct, almost “curled” ends, which come together in reaching the shoulder(s); prominent and imposing, as Assyrian manes were usually known to be. This same style is prevalent, as well, in the previously discussed bearded hair, which is billowing out from underneath a distinctly curled mustache and rounded nose, as well as the eased realism of traditional eyes and brow. Textured to …show more content…
Instead, what is made more pronounced in the foreground and background starts to mean everything; or, at least, far more so than one might have presumed to think. The right arm, appearing in the foreground to us, is outstretching in front of the face, made to align with the borders of the slab. Well-defined fingers, complete with fingernails, would solely imply the purpose of bolstering the king, yet vaguely concealed in its right hand is a textured, pinecone-shaped object of particular noteworthiness, which is featured in other such variations on the Winged Warrior from similar circumstances. In truth, the object is a conduit through which magical properties are administered into the world. This goes to show how, while the same elements can harmonize together, certain ones can be emphasized through a specific set of methods, depending on the chosen point or purpose. As such, this is a credit to both the multifaceted nature of the subject, rooted from the mythos of the Assyrian people, and the ingenuity of the sculptors, designers, and craftsmen, whose industry brought these works to …show more content…
Of course, there are subtle differences between the wrists as well; the left one carries forward with the serpent clasp(s), while the right one looks to be clad in a dissimilar sort of bracelet, primarily characterized by its “sun dial,” dead centered in the middle. Again, this impresses us to believe that it is rather for ceremonial purposes, perhaps opposed to just the aesthetic of it all. Still, the right arm is much more actively involved in the foreground, and therefore our eye is drawn to it almost immediately, while the left arm dangles to the side; somewhat pronounced, all the while, but only by the grace of the medium. The fingers and knuckles clutch securely around the handle of what appears to be a small tote or basket being carried. As was the case with the last object, this one has magical qualities of its own; by all accounts, the “horn” in the right hand is meant to literally disperse the magic, drawing on its powers from the bucket here. Beyond that, however, it is not farfetched to perceive this as evocative of some deeper, spiritual connection to the natural world. The process hereby represented is much like bees pollinating flowers, after all, harkening back to one of the overarching trends explored throughout the course of the semester: hybrids of men and