The essays in the volume study various aspects of the iconography of cylinder seals from the Akkadian period to the Neo-Assyrian period, from Mesopotamia to Hittite Anatolia. The authors deal mostly with concrete cases, including themes such as warfare, the sacred tree, fish and the god Ninurta. An introduction discusses the problems involved in interpreting iconography with few or no texts, and the volume is opened by a memorial of Henri Frankfort, second Director of the Institute, by his successor J. B. Trapp. The illustrations include a wide range of seal impressions. The book will be of interest to archaeologists and art historians of the ancient Near East, and to comparative iconologists. It was first published in 2006, and quickly sold out (ISBN-10: 0854811354). A limited number of volumes have been reprinted in 2018 for interested specialists (ISBN-13: 978-0-85481-135-9).

Studies of seals and sealing practices have traditionally investigated aspects of social, political, economic, and ideological systems in ancient societies throughout the Old World. Previously, scholarship has focused on description and documentation, chronology and dynastic histories, administrative function, iconography, and style. More recent studies have emphasized context, production and use, and increasingly, identity, gender, and the social lives of seals, their users, and the artisans who produced them. Using several methodological and theoretical perspectives, this volume presents up-to-date research on seals that is comparative in scope and focus. The cross-cultural and interdisciplinary approach advances our understanding of the significance of an important class of material culture of the ancient world. The volume will serve as an essential resource for scholars, students, and others interested in glyptic studies, seal production and use, and sealing practices in the Ancient Near East, Egypt, Ancient South Asia and the Aegean during the 4th-2nd Millennia BCE.

In this survey, the author looks at the development and use of cylinder seals over 3000 years. She discusses the information that they provide on religion, design and aspects of daily life in the Near East for this period.

Cylindrically-shaped sals first appeared int he second half of the fourth millennium B.C, gradually replacing the more traditional stamp seals. Cylinder seals are interesting not only for the past functional uses and for what they reveal about ancient Near Eastern culture and society--but the representations rendered by the seals are a worthy art form. This book discusses over 700 seals, including a large number of Syrian seals. --Publisher description.

This book is the most comprehensive treatment of the art of Syria in the third millennium B.C. It is a catalogue of nearly 600 seals from Tell Brak, combined with a general study of the comparative material. It is both a basic word of reference and a new synthesis of the Syrian Early Bronze Age. relate to taxation during the New Kingdom.

Provides a broad view of the history and current state of scholarship on the art of the ancient Near East This book covers the aesthetic traditions of Mesopotamia, Iran, Anatolia, and the Levant, from Neolithic times to the end of the Achaemenid Persian Empire around 330 BCE. It describes and examines the field from a variety of critical perspectives: across approaches and interpretive frameworks, key explanatory concepts, materials and selected media and formats, and zones of interaction. This important work also addresses both traditional and emerging categories of material, intellectual perspectives, and research priorities. The book covers geography and chronology, context and setting, medium and scale, while acknowledging the diversity of regional and cultural traditions and the uneven survival of evidence. Part One of the book considers the methodologies and approaches that the field has drawn on and refined. Part Two addresses terms and concepts critical to understanding the subjects and formal characteristics of the Near Eastern material record, including the intellectual frameworks within which monuments have been approached and interpreted. Part Three surveys the field’s most distinctive and characteristic genres, with special reference to Mesopotamian art and architecture. Part Four considers involvement with artistic traditions across a broader reach, examining connections with Egypt, the Aegean, and the Mediterranean. And finally, Part Five addresses intersections with the closely allied discipline of archaeology and the institutional stewardship of cultural heritage in the modern Middle East. Told from multiple perspectives, A Companion to Ancient Near Eastern Art is an enlightening, must-have book for advanced undergraduate and graduate students of ancient Near East art and Near East history as well as those interested in history and art history.