Shalmaneser III

Innumerable works of art found in any of the myriad ancient artistic eras have specific purposes and are created with methods common in their particular setting. Many works dated to the period of Assyrian art (1363-612 BCE) share similar patterns of stylistic execution and representative meaning. The Relief of a Winged Divinity, an Assyrian artwork found in the throne room of the Northwest Palace of King Ashurnasirpal II in Nimrud, Iraq, presents a shallowly carved, highly detailed figure, probably representing the king, on a large slab of gypseous limestone accompanying lines of inscribed cuneiform, resembling an orthostat. The most remarkable aspect of this low relief is how the artist utilized common techniques of Assyrian art to create the work’s intricate details, symbolizing and emphasizing the king’s influencing power and godlike qualities. In accordance with the importance of the stylistic and symbolic representation, the relief displays an unnaturalistic human figure with attached wings, similar to how a mythical creature or ancient god would be portrayed. Although the human portion of the figure represents a proportional male, the eye sockets are unrealistically large. Furthermore, features such as the heavily muscled arm and the poised position accentuated by the man 's silhouette suggest that, besides the lack of realism, the human portion of the figure is idealized. The figure’s right arm, which is bent in an upward, shifting angle, has very defined muscles.…

Standing majestically with a gaze protruding from a body of “white limestone and alabaster…” (MET), the Human-headed winged lion measures up to 10 feet and 3 ½ inches in height. Also referred to as the Lamassu, the sculpture is adorned with a “horned crown” that represents a spiritual holiness. Despite the crown’s intention to convey a state of “divinity”, it is in my observation to point out how outwardly phallic the top of the Lamassu head appears. It may be a vague symbol of masculine power…

Striding lion from Near East, Mesopotamia, Babylon, Iraq. Neo-Babylonian Period, 604-561 BCE. The striding lion with an open mouth was lined the Processional Way to the Temple of Marduk from Ishtar Gate at Babylon. The size is 41 3/4 in. by 91 5/16 in. Glazed bricks. The striding lion is a symbol of Ishtar, the goddess of Love and War. All 120 lions were protecters of Babylon and at the same time were leading the way from Ishtar Gate to the Marduk Temple. Neo-Babylonian used animals as symbols…

The Assyrian kings, who governed many societies and realms, were leaders of inflexible publicity to enhance their lands, which they conveyed through drawings and in inscribing. The kings custom-built relief sculptures that praise the authority and leaders. In the Metropolitan Museum of Art, in section 401, there lies the Assyrian Reliefs, which reconstructs the palace rooms of Ashuranasirpal II at Nimrud. Initially radiantly dyed, they once beautified the vast palace of the great Assyrian kings…

According to Centers for Disease Control and Prevention (2015), between half and three quarters of nursing home residents fell each year. Falls can be prevented by determining and addressing fall risk factors. Kamehameha Nursing Home is dedicated to provide best quality of care to its residents and their families. One way to provide best quality of care is to avoid fall incidents in the facility. As of year 2015, there were 120 residents in Kamehameha Nursing Home who suffered physical injuries…

Burial practices in the Valley of the Kings The Valley of the Kings was the hidden burial ground of many Ancient Egyptians pharaohs who remain undisturbed in their afterlife for thousands of years. From the detailed examination of the archaeological remains of the Valley of the Kings, it can be revealed that archaeological evidence had several symbolic meanings to the pharaohs as it showcases Egyptian beliefs, revealed how materialistic pharaohs were in life and death and the significance of…

By looking at the way composers represent the intertextual connections between texts, audiences are provided with heightened understanding of humanity’s changing contexts in shaping the values and societal paradigms that transcend in time. Within William Shakespeare’s tragedy “King Richard III” (1591), Shakespeare’s depiction of the Machiavellian political endeavour regarding Richard’s personal ambition in the pursuit of authority as a product of his deformed vessel of his corporeality, reflects…

Tragic love stories have fascinated humans since ancient times. They conquered the hearts of many and opened the ways for more love stories. Geoffrey Chaucer (c. 1343 – to October 1400) is one of the most famous English authors of the middle ages. Chaucer is considered the father of English literature and thrilled the mass with his literary works. His most famous works include the Canterbury Tales and Troilus and Criseyde. Yet, again a tragic love story that is still widely popular in the 21st…

Look at the way people dress. Listen to the words of music. Look closely at the plot in movies. We do not often know that some of these are often influenced by the most famous writer and playmaker, William Shakespeare. Shakespeare has influenced quite a bit of today's modern culture through tragic, comical, and love filled writings and plays he wrote in the Renaissance period. We often see remakes of his romantic play, Romeo and Juliet, or his tragic play, Macbeth. Movies such as The Lion King…

There are many iterations of the Hamlet story that have been filmed dating from 1907 up until the year 2009 yet only five of those many movies portray a good feeling and meaning for the“To Be or Not to Be” soliloquy. The five movies in mention are the Branagh, Gibson, Blockbuster, Olivier, and Doran’s versions. In the five movies the camera angle, actions of Hamlet, and the music do well at producing emotion in the viewer. But only one is superior to all. The Branagh version is the most…