Ornamental wall painting in the art of the Assyrian Empire by Pauline Albenda
By Pauline Albenda
This research brings jointly the archaeological list and the pictorial documentation of decorative wall portray produced in Assyria, from the 13th to the 7th centuries B.C. Nimrud, Khorsabad, Til Barsip, and inform Sheikh Hamad, are one of the historic websites the place remarkable wall work have been found; regrettably every one of these discoveries now exist in drawings and images purely. decorative wall portray created a colourful and significant visible effect to the rooms of apartments belonging to the Assyrian kings. The assembled fabric demonstrates that the polychrome and black-and-white adorned bands of geometric, floral, figural, and animal motifs have been prepared right into a number of formulaic designs. specific recognition is given to the altering tendencies within the choice and mix of motifs, a few of which had symbolic that means. The chronology of the wall work at Til Barsip and the accompanying dialogue of cloth styles are of specified curiosity to the paintings historian. This booklet illustrates the decorative wall work as recorded within the excavation reviews
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Extra info for Ornamental wall painting in the art of the Assyrian Empire
Til Barsip Pl. 12. Winged genie. Fragment of wall painting from room 27 at Til Barsip. Musée du Louvre AO 23009. Photo RMN, Chuzeville. Rooms 25 and 27 Plates 11, 12. Existing Fragment: Louvre AO 23009. Cavro’s copy: Louvre AO 25067 K. Publications: Thureau-Dangin and Dunand 1936, pp. 59–63, pls. XLIII, XLVII; Parrot 1961, p. xv (photo). 04 meters from bottom to top. The excavators noted that the same frieze recurred in rooms 26 and 27 (bathroom). Blue stripes alternate with the two decorated borders that frame the principal register in mirror image.
4c. Painted fragments and reconstruction of wall painting from building E, Til Barsip. Abbate 1997, ﬁg. 3. bands set between thin lines frame the frieze, and a third band centered in the frieze connects the individual geometric shapes. Within each large square are concentric squares that, in turn, surround concentric circles. At each corner between the innermost concentric square and outermost concentric circle is a bud. Each large circle contains concentric circles and a dot center, and continuous bars radiate around two of the inner circles.
Loud 1936, pl. III: 8. fragments is given as 1:10; therefore, the width of each hexagon is 10 to 15 cm and the diameter of each circle is 10 cm. These measurements make it likely that, despite the density of repeats, the two types of polychrome patterns adorning the ceiling and upper walls were intended to be distinguishable from below, within the chamber. The closely spaced hexagons exhibit some variation in the sequence of the alternating red, blue and white colors (ﬁg. 2, top). For example, one group of hexagons shows a blue dot center and another group shows a white dot center.