Discussions of apocalyptic thought and its sources in the ancient Near East, particularly Mesopotamia, have a long scholarly history, with a renewed interest and focus in the recent decades. Outside Assyriological scholarship as well, studies of the apocalyptic give significant credit to the ancient Near East, especially Babylonia and Iran, as potential sources for the manifestations of this phenomenon in the Hellenistic period. The emphasis on kingship and empire in apocalyptic modes of thinking warrants special attention paid to the regal art of ancient Mesopotamia and adjacent areas in its potential to express the relevant notions. In this book, Mehmet-Ali Ataç demonstrates the importance of visual evidence as a source for apocalyptic thought. Focusing on the so-called investiture painting from Mari, he relates it to parallel evidence from the visual traditions of the Assyrian Empire, ancient Egypt, and Hittite Anatolia.

Far from being a Judeo-Christian invention, apocalyptic thought had its roots in the ancient Near East and was expressed in its art.

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.

This Handbook is a state-of-the-field volume containing diverse approaches to sensory experience, bringing to life in an innovative, remarkably vivid, and visceral way the lives of past humans through contributions that cover the chronological and geographical expanse of the ancient Near East. It comprises thirty-two chapters written by leading international contributors that look at the ways in which humans, through their senses, experienced their lives and the world around them in the ancient Near East, with coverage of Anatolia, Egypt, the Levant, Mesopotamia, Syria, and Persia, from the Neolithic through the Roman period. It is organised into six parts related to sensory contexts: Practice, production, and taskscape; Dress and the body; Ritualised practice and ceremonial spaces; Death and burial; Science, medicine, and aesthetics; and Languages and semantic fields. In addition to exploring what makes each sensory context unique, this organisation facilitates cross-cultural and cross-chronological, as well as cross-sensory and multisensory comparisons and discussions of sensory experiences in the ancient world. In so doing, the volume also enables considerations of senses beyond the five-sense model of Western philosophy (sight, hearing, touch, taste, and smell), including proprioception and interoception, and the phenomena of synaesthesia and kinaesthesia. The Routledge Handbook of the Senses in the Ancient Near East provides scholars and students within the field of ancient Near Eastern studies new perspectives on and conceptions of familiar spaces, places, and practices, as well as material culture and texts. It also allows scholars and students from adjacent fields such as Classics and Biblical Studies to engage with this material, and is a must-read for any scholar or student interested in or already engaged with the field of sensory studies in any period.

"This volume accompanies an exhibition of the same name, which includes artefacts from nearly 2000 years before the Christian era. Objects such as coffins, tombs, masks, jewellery, papyri, sarcophagi and monumental and small-scale sculpture reveal the reverence and awe with which the Egyptians considered the mystery of death. The essays in this book explore Egyptian art history, customs and worship, with specific focus on the Amduat, a book devoted to the pharaoh's 12-hour journey to the afterlife. Additional writings detail the background of the collection and focus upon the role of art in ancient Egypt."--Amazon.

This volume addresses the nexus of religion and geography in the ancient Near East through case studies of various time periods and regions. Using Sumerian, Akkadian, and Aramaic text corpora, iconography, and archaeological evidence, the contributors illuminate the diverse phenomena that occur when religion is viewed through the lenses of space and place. Gina Konstantopoulos draws upon Sumerian literature to understand mythicized and semimythicized locations. Seth Richardson and Elizabeth Knott focus on the Old Babylonian period, with Richardson addressing the interplay between law, location, and the gods, while Knott turns from text to image, relocating the reader to Syria and realizing the potential of royal iconography when situated in the “right” space. Shana Zaia moves forward to the first millennium, following the capital of the Neo-Assyrian Empire as it shifted from city to city, with divine implications. Finally, Arnulf Hausleiter and Sebastiano Lora focus on northwest Arabia, unearthing a local pantheon and situating it among the various influences in the region from the second millennium onward. Covering a broad geographical and temporal scope while maintaining a cohesive focus on the theme, this book will appeal especially to Assyriologists, scholars of the ancient Near East, and specialists in historical geography.

This second volume of Collected Essays, complement to volume one, focuses upon the art and culture of the third millennium B.C.E. in ancient Mesopotamia. Stress is upon the ability of free-standing sculpture and public monuments to both reflect cultural attitudes and to affect a viewing audience. Using Sumerian and Akkadian texts as well as works, the power of visual experience is pursued toward an understanding not only of the monuments but also of their times and our own.