Relief of an Assyrian eagle-headed protective spirit from the Temple of Ninurta in Nimrud. Across the body runs Ashurnasirpal’s “Standard Inscription”, which records some of the king’s titles and achievements and is repeated on many of his stone reliefs. The cuneiform inscription was cut after the figure was carved, as some of the details of decoration on the dress have been chiselled through.

Neo-Assyrian Glazed Terracotta Tile from Nimrud (Kalhu), Iraq, c. 883-859 BC

A clue to the colour scheme of an ancient palace:

This glazed tile was found by the excavator Henry Layard at the Assyrian city of Nimrud. Along with the stone reliefs, it was part of the decorative scheme of the royal palace, although few examples survived Nimrud’s destruction in the seventh century BC.

This example depicts an Assyrian king, possibly Ashurnasirpal II (reigned 883-859 BC), accompanied by his bodyguard and attendants. It was probably part of a sequence showing the king as triumphant warrior and hunter. Such tiles provide a clue to the kind of colour scheme used for the relief panels. The decoration was executed in yellow, black and green (perhaps originally red) paint. These were made from natural materials.

It is likely that most major Assyrian buildings had paintwork at least in the reception rooms. Ashurnasirpal recorded that he had represented his triumphs in paintings. There were murals on the walls above the carved stone panels and the ceilings were also painted.

Glazed bricks are mentioned first in the second half of the second millennium BC when the mastery of the mechanical properties of glass had become known.


Assyrian Relief with Winged Genius, dates to between 883 and 859 BC (Neo-Assyrian). 

The genius was a benevolent deity, who also had a protective function. His elaborate garments, with intricate depictions of animal hunts and ritual scenes along the edges, are the typical apparel of courtiers in the palace of King Ashurnasirpal II. This relief has a royal inscription of Ashurnasirpal II carved directly over the figure, in which the ruler boasts of his military campaigns.

Translations for parts of the inscriptions:

(Property of) the palace of Ashurnasirpal, vice-regent of Aszszur, chosen of the gods Enlil and Ninurta, beloved of the gods Anu and Dagan, destructive weapon of the great gods, strong king, king of the universe, king of Assyria, son of Tukulti-Ninurta (II), great king, strong king, king of the universe […]

With the help of the gods Szamasz and Adad, the gods my supporters, the troops of the lands Nairi, the land Habhu, the land Szubaru, and the land Nibur, like the god Adad / the devastator, I thundered over them. The king who subdued (the territory stretching) from the opposite bank of the Tigris to Mount Lebanon and the Great Sea, the entire land Laqu (and) the land Suhu including the city Rapiqu. / He conquered from the source of the river Subnat to the land Urartu.

Courtesy & currently located at the Walters Art Museum, Baltimore, USA. You can read the full inscription translation here.

This relief was behind Assyrian king Ashurnasirpal’s throne. He appears twice, wearing ritual robes and holding the mace of authority. In front of him is a Sacred Tree symbolising life, and he makes a gesture of worship to a winged disc contain a god who may be the sun god Shamash, has a ring in one hand; this is an ancient Mesopotamian symbol of god given kingship. There are protective spirits on either side behind the king.Similar scenes were also embroidered on the royal clothes.

Winged Genie. Nimrud, Assyria (modern-day Iraq). Neo-Assyrian Period, reign of Ashur-nasir-pal II, circa 883–859 B.C.E. Alabaster, 93 1/16 x 80 13/16 in. (236.3 x 205.3 cm). Brooklyn Museum, Purchased with funds given by Hagop Kevorkian and the Kevorkian Foundation, 55.147

"How the Reliefs Came to Brooklyn

In 879 B.C.E., King Ashur-nasir-pal II celebrated the completion of his palace at Kalhu by hosting a banquet for 69,574 guests, but the glorious palace was soon abandoned and forgotten. In 1840, nearly three thousand years later, a young English diplomat named Austen Henry Layard noticed an unusually large mound while rafting down the Tigris River. He returned in 1845 to unearth the remains of the palace, sending his discoveries to the British Museum in London. He sent so many monumental sculptures and relief-decorated slabs that the museum sold some of them, including these twelve reliefs. In 1855, the expatriate American Henry Stevens purchased the reliefs and shipped them to Boston. Unable to raise funds for the reliefs there, he sold them to James Lenox for the New-York Historical Society. In 1937, the Society lent them to the Brooklyn Museum and in 1955, Hagop Kevorkian, the New York collector and dealer, donated the funds to purchase and install the reliefs in the renamed Hagop Kevorkian Gallery of Ancient Near Eastern Art at the Brooklyn Museum.”


Ancient Worlds - BBC Two 

Episode 2 “The Age of Iron”

In ancient Assyria, lion-hunting was considered the sport of kings; a symbol of the king’s ability to guard the nation.

Numerous carvings from the North Palace of Ashurbanipal (in Nineveh) have been found, depicting the king hunting and killing lions. The hunting scenes, full of tension and realism, rank among the finest achievements of Assyrian Art.

Assurbanipal (668-627 BC) -also known as Ashurbanipal- was king of of the Neo-Assyrian Empire. He achieved the greatest territorial expansion of the Assyrian Empire. Toward the end of his reign, however, the empire had grown too large and too difficult to properly defend. The Assyrian Empire was already crumbling toward the end of his reign and, with his death, fell apart completely.

The king was a great patron of the arts. He established his famous library, the Library of Ashurbanipal, of over 30.000 clay tablets at Nineveh.

The British Museum, London, UK

Ashurnasirpal II and a Winged Deity, Northern Iraq, Nimrud, 9th century B.C., gypseous alabaster.

This splendid series of five Assyrian bas-reliefs from the ninth-century once decorated the inner walls of the northwest palace of Ashurnasirpal II (r. 883-859 BC). The site of ancient Calah (now called Nimrud), located on the Tigris River in northern Iraq, was first excavated by British archaeologist Austen Henry Layard in 1845. Calah was an ancient capital of Assyria probably founded in the thirteenth century BC. The city was developed under the reign of Ashurnasirpal II, who erected his great northwest palace on earlier ruins. Built of mud brick on stone foundations, the palace was embellished on its lower levels with a series of decorated slabs (from the upper Tigris quarries) that depicted the monarch’s skill as a hunter/warrior, as a servant of the gods, and as a mighty king.

One of the five panels depicts the king with a learned man. In one hand, the king holds a libation bowl; in his other hand, he holds his bow, symbol of royal prowess. A long inscription in cuneiform on the reliefs has come to be known as Ashurnasirpal’s “standard inscription” because it was repeated so frequently throughout the palace; it mentions the king’s prayer and his deeds in founding the city of Calah. The reliefs were discovered in 1855 by a Scottish geologist, William Kenneth Loftus, after the departure of Layard. (read more)

Courtesy & currently located at the LACMA, California. 

tomorrow is the day ♥

that I will turn 1. LOL. Its a big thing for me coz’ I worked hard for this blog to work out. My posts may be nonsense and sometimes , useless but this is my fuckin blog so imma post whatever I want. LOL BTW, its been centuries since i posted a personal text post! Let’s clap our hands for that. Im such a lazy bitch, thats why. Aypa si sophia, effort pa. HAHA! But ill make sure that ill update this lovely blog of mine :*



"After capturing one city, Ashurnasirpal built a huge pillar describing how he fucking just owned the assholes that lived there. Then he publicly flayed the bodies of the town leaders, covered the pillar with their dried skin, and placed impaled bodies around the walls in decorative patterns just to drive the point home"

Recently Discovered Babylonian Artifact:
Statue of Ashurnasirpal II.

For centuries, until the so-called Age of Enlightenment—also known as the Age of Reason—the Western world accepted without question the historical accuracy of the account of the Garden of Eden, the Flood, the Tower of Babel, the history of the patriarchs and the Exodus from Egypt.

However, in the 17th and 18th centuries, European intellectuals began to claim that only through human reason could true knowledge be obtained. Rather than the Bible, scientific reasoning became the source of authority—the ultimate judge of all truth. The Bible came under direct attack.

Then in the 19th and early 20th centuries, the theory of evolution—the fable of a creation without a Creator—and higher Bible criticism spawned by anti-Semite German rationalists, came on the scene and succeeded in completely removing God and the Bible from the picture. German Bible critics argued that the Bible was unhistorical and had no reliable basis in fact.

They stated that the Bible was merely Jewish fable and folklore fabricated in the 5th and 6th centuries B.C.—in other words, that most of the Old Testament books were not contemporary records, but rather had been written centuries after the events took place. Many scholars came to deny the existence of Adam and Eve, Noah, Abraham, Joseph, Moses, David and Solomon.

So today, most theologians and ministers look askance at the Bible and its history. The real tragedy is that these men refuse to study into and teach the vital lessons taught by these histories
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The Stone Panel from the North-West Palace Of Ashurnasirpal II 

This relief panel comes from the walls of the courtyard which led to the throne room of the Assyrian king Ashurnasirpal II (883-859 BC). It was positioned next to a side-door through which his throne was sometimes visible.

Although many of the sculptures decorating the palace depicted magical spirits, away from the main central door and buttresses the scenes in the courtyard were secular. This scene was part of series showing a group of foreigners bringing tribute. Their dress shows that they were from the west. The turban suggests one man is from north-western Syria, his clenched fists are a token of submission. At this time Assyria was expanding westward to acquired booty and tribute from states in the geographical region of Syria. The man with monkeys may be Phoenician. They bring luxury goods and status symbols. The monkeys may have come from Egypt or from the lands of southern Arabia from which incense was imported.

Mesopotamian kings prided themselves in the collections of exotic animals they acquired as booty or tribute. Monkeys were popular animals in the art of Mesopotamia. They were often depicted playing musical instruments, perhaps representing animals accompanying travelling entertainers.  II (Court D, no. 7 )

Instagram series of all the galleries in the British Museum (with images) · britishmuseum · Storify

Room 8, Nimrud, is the next #MuseumOfTheFuture gallery in our series. It contains stone reliefs from Neo-Assyrian King Ashurnasirpal II’s magnificent Northwest Palace at Nimrud and two large Assyrian winged human-headed lions. British Museum · Thu, Oct 30 2014 21:46:31