Human-headed bull & Sphinx Valley (March 2018 Edition)

The art world can be a fascinating place full of interest and wonder to captivate the mind. It can fulfill the imagination and create new memories by only taking the first step that begins the process of artistic creation, which allows the mind/imagination to assume control. However, this can also be based upon the cultural influences/socio political circumstances, the period in which the artwork was created, the scientific/technological inventions and advancements of the given period, and the influences of those who came before. All of which are contributing factors in the two following artifacts of the Sumerian Brown Serpentine Recumbent Human-headed Bull and Egyptian Sphinx Alley.

The first artifact of the Mesopotamian Sumerian Brown Serpentine Recumbent Human-headed Bull, according to “CALIFORNIA MUSEUM OF ANCIENT ART - LOS ANGELES, CA, CMAA,” was displayed as having “almost regal facial features [which] included a large curved Semitic nose, a full mouth, finely formed eyes with eyebrows that [met] at the bridge of [the] nose and bull's ears” (“An Exhibition of Ancient Mesopotamian Art”). It was also created during a time of socio-political circumstances of at least three factors, according to Seton Lloyd of Encyclopedia Britannica. According to him, one contributing factor to be recognized to the character of Mesopotamian art and architecture was its socio-political status. “One is the sociopolitical organization of the Sumerian city-states and of the kingdoms and empires that succeeded them” (Lloyd). In other words, during this time in Mesopotamian culture, “cities were fortified by and adorned with public buildings; irrigation systems were organized and jealously protected; armies were efficiently equipped and troops trained in concerted action; victories were celebrated and treaties ratified” (Lloyd). This meant that life improving for the Mesopotamians because they were in a positive and healthy position which, consequently thereafter, enabled the creation of this Sumerian Brown Serpentine Recumbent Human-headed Bull, as shown below.

The second artifact however, was created in quite a different period. Instead of it being in the land of Mesopotamia and Sumerians, it was filled with Egyptian pyramids and inventions that, to this day, remain highly regarded in the art world. However, this second artifact refers to the Sphinx Alley to which, according to Phys.org - News and Articles on Science and Technology “was built by the prodigiously wealthy Pharaoh Amenhotep III, who ruled about 3,400 years ago, to connect the vast Karnak temple in ancient Thebes to the Luxor Temple” (“Sphinx-Lined Road Unearthed in Egypt”). Additionally, it was an alley that was used to represent the marriage re-enactment of the Egyptian deities, Amun and Mut. “It marks a route that ancient Egyptians promenaded along once a year carrying the statues of the deities Amun and Mut in a symbolic re-enactment of their marriage” (Theodoulou). It was an alley that carried a high level of importance in the Egyptian art community because of its representation of the political and social power of Egypt in regard to the rest of the world. Nonetheless, both artifacts presented interesting comparisons, in terms of similarities and differences, when correlated with one another.

Although both cultures possessed similar traits and characteristics among their artwork, the Egyptian culture’s socio-political status seemed to outstretch that of the Mesopotamian one. It appeared that, despite the intriguing and impressive inventions the Mesopotamians were able to create, such as the Sumerian Brown Serpentine Recumbent Human-headed Bull, they fell short in comparison to the Egyptian Sphinx Alley. Furthermore, although “[Mesopotamian] cities were fortified by and adorned with public buildings; irrigation systems were organized and jealously protected; armies were efficiently equipped and troops trained in concerted action; victories were celebrated and treaties ratified,” their artwork did not match that of the Egyptians, despite their interesting period style (Lloyd).

The period style of the Mesopotamian Sumerian Brown Serpentine Recumbent Human-headed Bull was quite interesting because of its origin. It was constructed with a specific purpose, which is supported by the Metropolitan Museum of Art. According to them, the “great Assyrian king Ashurnasirpal II, undertook a vast building program at Nimrud, ancient Kalhu,” which became the new capital (“Human-Headed Winged Lion (Lamassu)”). This project was later known to the public when the king held a festival for “69,574 people to celebrate the construction of the new capital,” reading with an inscription that decorated the walls of his palace. It read, “Beasts of the mountains and seas, which I had fashioned out of white limestone and alabaster, I had set up in its gates. I made it [the palace] fittingly imposing” (“Human-Headed Winged Lion (Lamassu)”). In other words, the king’s intention of this inscription was that among such stones, his creation “[was] the human-headed, winged [bull]” (“Human-Headed Winged Lion (Lamassu)”). A beast that was composed of a “horned cap to attest to its divinity, and the belt [to signify] its power,” though in addition, “the sculptor [also] gave these guardian figures five legs so that they [would] appear to be standing firmly when viewed from the front, but string forward when seen from the side” (“Human-Headed Winged Lion (Lamassu)”). It was further stated that this Human-headed Bull was instrumental in protecting doorways in Assyrian palaces, unlike its Egyptian counterpart.

Conversely, the Egyptian Sphinx Alley was composed of a different style. Rather than it being a “guardian figure” with five legs, it was a smaller, yet higher-quantity based project. In other words, it consisted of a higher sum of smaller objects as opposed to one large one. Nonetheless, much like the Great Sphinx that measured “240 feet long and 66 feet high,” the Sphinx Alley was only composed of twelve proportionately smaller figures (Tikkanen). Consequently, this was a change supported by both Gay Robbins and Ann S. Fowler, the two authors of Proportion and Style in Ancient Egyptian Art, who stated that regarding Egyptian Art, “along with changes in style there [occurred] changes in the proportions of figures” (Robbins and Fowler 245). In other words, because of the changes from the one large Great Sphinx to the twelve smaller ones, style changes were made to illustrate the adapting culture. Consequently however, when compared to its opposition, the period style was somewhat similar.

Similarly possessing traits and characteristics, both cultures of Mesopotamia and Egypt identified their artwork in synonymous formats. Much like the “vast building program” that took place under the “great Assyrian king Ashurnasirpal II,” the Egyptians conducted a building project, as mentioned prior, to represent the marriage re-enactment of the Egyptian deities, Amun and Mut. Furthermore, this representation “[marked] a route that ancient Egyptians promenaded along once a year carrying the statues of the deities Amun and Mut in a symbolic re-enactment of their marriage” (Theodoulou). It was a category of building to which both cultures associated similarity, in regard for the reasoning behind the given structures/artifacts. Though not all their plans coincided with one another.

Consequently, because they were two distinct cultures with different values and beliefs, these two artifacts differed in some regards. For instance, the Egyptians were able to construct many monuments, such as the Great Sphinx, because of the religious importance to which they wished to commemorate their memories. The Mesopotamians however, could not do this because of the scientific and technological advancements they displayed with their Human-headed bull in comparison to the Egyptians.

As a result, the scientific and technological advancements that affected the production of the Mesopotamian Human-headed bull were quite large because of the early culture upon which citizens were participants. The culture that began “when humans first gave up the dangerous and uncertain life of the hunter and gatherer for the more predictable and stable life of the farmer and herder” (Kleiner 32). Additionally, the technological advancements were also existent because, as Kleiner further states, its origin initiated with the members of the Mesopotamian community, under the alias Sumerians, who created the first form of writing, which was later known as the cuneiform. “the development of cuneiform marked the beginning of writing” (Kleiner 33). Then members of the Mesopotamian community, as shown with the winged bull, began to improve their technology, whether it was the bull itself or temples such as the one of Assyrian king Ashurnasirpal II, they continued their quest for advancement, much like those of their Egyptian correspondents.

By the same token, the second artifact that originates from the Egyptian culture also has an interesting background, in terms of its technological advancements/improvements. According to Ancient Egyptian Technology and Inventions, many of the current day assets and technology improvements are because of the work of the Egyptians. “much can be attributed to the ancient Egyptians, even some of the earliest forms of technology and inventions that we still use today. They were innovators in astronomy, mathematics, medicine, language and even architecture. In fact, the list of inventions in ancient Egypt can be quite a lengthy document (“Ancient Egyptian Technology”). Hence the reason as to why many inventions are as scientifically and technologically powerful because the Egyptians were the ones who enabled future generations the initial stages upon which improvements could made. Examples of which include “clocks, ships and navigation, calendars, simple machines, irrigation, advanced weaponry, medicine, furniture, mathematics, electricity, and dental hygiene” (“Ancient Egyptian Technology”). All of which are contributing factors in the ideas to which both cultures offer when compared to one another.

In relation to one another, both artifacts possess similar and different traits/characteristics that make them unique. The Egyptian culture withal, possesses more power in terms of advancement and opportunity, for they are responsible for many of the currently used ingredients and factors to which humans participate daily. Though much of this is also due to the Mesopotamian culture because of the beginnings with which they are associated. In other words, were it not for this culture, the possibility of the Egyptians lacking access to a further advanced culture with its specific tools may not have existed, further creating a possibility of a much different present-day society/culture.

Not only were such scientific and technological advancements important for these two cultures, but so were the categories to which they also shared similarities and differences. However, when compared to one another, they once more share more similarities than they do differences. For example, both the Human-headed bull and Sphinx Alley Sphinxes artifacts are facing forward while laying down, emphasizing the great amount of power and strength that was represented amongst both cultures. Furthermore, the colors, medium, and technique are all similar in the regard that they all possess synonymous properties. In other words, when examined, both artifacts could be mistaken for existing in the same time periods for their structure, such as both artifacts containing two laying animals with human heads attached to the top, as well as the methods upon which both were created. However, while they may have many similar properties to one another, they also possess some differences.

The differences amongst both cultures and their chosen artifacts exist because of the following. During the Mesopotamian era, access to materials such as stone and rocks to build certain artifacts and inventions was limited. It was not as easy to access materials compared to the Egyptian culture because of the shortages in which the Mesopotamian culture experienced, in comparison to the “surpluses” seasoned by the Egyptians. Furthermore, the Egyptian culture, because of their increased access to such materials, was able to create the Sphinx Alley of twelve sphinxes because of the plethora of materials to which they had access. Hence the reason the Sphinx Alley artifacts were much larger and numerous compared to that of the Sumerian Brown Serpentine Recumbent Human-headed Bull. The Egyptians had more materials with which they could build and invent certain products, thus creating a difference in artifact properties as a result of their previous artistic influences.

The artistic influences upon which the Mesopotamian culture based their artwork was quite compelling in relation to how it became known to society. In other words, the Mesopotamian culture was influenced by many different sources, as stated by Essential Humanities. According to them, “Mesopotamia was [influenced] by a variety of cultures, including the Sumerians, Assyrians, and Babylonians” (“Mesopotamian Art”). Hence the reasoning as to why the culture designed its inventions in such regards as to explain the beliefs it had created, somewhat like its Egyptian counterpart.

Equivalently, Egyptian art was also influenced by many different factors. These included, according to Egyptian Art and Mythology, “the Nile River, the two kingdoms (the Upper in the south and the Lower in the north), agriculture and hunting, animals, the heavens, the pharaohs and gods, and religious beliefs” (“Art and Mythology of Ancient Egypt”). Strictly speaking, the daily lives of the Egyptians influenced the artwork they created, for it was considered important and valuable to their culture. Furthermore, this culture created the Sphinx Alley in the manner of displaying their religious beliefs, as follows. “A portrait of the king [was] placed upon the body of a lion or panther, which [showed the] connection with the heavens” (“Art and Mythology of Ancient Egypt”). Thus, the acumen behind the influences upon which previous artistic styles affected the way in which Egyptian artwork was created.

Overall, despite the many similarities and differences amongst both cultures and their artifacts, both possessed considerable amounts of intrigue that has been incorporated into the future generations of artwork. Examples such as the Human-headed bull and the Sphinx Alley nonetheless, are only two of the many pieces of artwork that have had an influence on the creation and design of future works. Furthermore, the dialectic reasoning as to why I chose these two artifacts was because of the intrigue and popularity both presented in my life. Not only did I perceive them as intriguing artifacts upon which research could be conducted but I also considered them important stepping stones in the origins of the art world. Moreover, when in the presence of such artifacts, the importance was significantly increased because of the struggling with which I experienced in relation to its highly regarded value among society. Additionally, I believed that by studying these two similar, yet different artifacts, my perception and aptitude upon which the art world is recognized, has been significantly increased.

Works Cited

“Ancient Egyptian Technology.” Ancient Egyptian Technology and Inventions, SiteMap, www.ancient-egypt-online.com/ancient-egypt-technology.html.

“An Exhibition of Ancient Mesopotamian Art.”CALIFORNIA MUSEUM OF ANCIENT ART - LOS ANGELES, CA, CMAA, cmaa-museum.org/meso06.html.

“Art and Mythology of Ancient Egypt.” Egyptian Art and Mythology, www.watson.org/~ele/egypt/egypt.html.

“Human-Headed Winged Lion (Lamassu).” Metropolitan Museum of Art, The Metropolitan Museum of Art, www.metmuseum.org/toah/works-of-art/32.143.2/.

Kleiner, Fred S., and Helen Gardner. Gardner's Art through the Ages: The Western Perspective. Cengage Learning, 2017.

Lloyd, Seton H.F. “Mesopotamian Art and Architecture.” Encyclopedia Britannica, Encyclopedia Britannica, Inc., 28 Dec. 2017, www.britannica.com/art/Mesopotamian-art.

“Mesopotamian Art.” Mesopotamian Art | Essential Humanities, www.essential-humanities.net/world-art/mesopotamian/.

Robins, Gay, and Ann S. Fowler. Proportion and Style in Ancient Egyptian Art. University of Texas Press, 1994.

Theodoulou, Michael. “Archaeologists Discover Second Sphinx-Lined Road in Luxor Dating Back to Fourth Century.” Daily Mail Online, Associated Newspapers, 16 Nov. 2010, www.dailymail.co.uk/news/article-1329926/Archaeologists-discover-sphinx-lined-road-Luxor-Egypt-4th-century.html.

Tikkanen, Amy. “Great Sphinx of Giza.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 28 Dec. 2017, www.britannica.com/topic/Great-Sphinx.

“Sphinx-Lined Road Unearthed in Egypt.” Phys.org - News and Articles on Science and Technology, Phys.org, 15 Nov. 2010, phys.org/news/2010-11-sphinx-lined-road-unearthed-egypt.html.