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Univer Universit sit
Libra Library ry
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P UB UB L C AT A T IO IO N
OF TH
M IN IN I T R
Dire Directo ctorat rat
Th
R EP E P UB UB L
O F C UL UL TU TU R
O F T UR U R KE KE Y 61
of Publ Publica icati tions ons
Ha
te Civi zat ons
Ekre Ekre
KURG KURGAL AL
;~
INTRODUCTION REPUBLICOF REPUBLICOF TURKEYMINISTRYOF TURKEYMINISTRYOF CULTURE,200 CULTURE,200 -ANKARA Fro the standp standpoin oin ofarchaeol ofarchaeologi ogical cal and histor historica ica resour resources ces and fro tha ofits fields fields ofresea ofresearc rc an stud study, y, Anat Anatol olia ia is on ofthe worl world' d' most most anci ancien ent, t, rich riches es an most most colo colorl rlul ul countr countries ies Wit its nature nature its people people andwith the cultur cultures es and civili civilizat zation ionswhich swhich the hav crea create ted, d, Anat Anatol olia ia is mult multic icol olor ored ed mosa mosaic ic an very very sple splend ndid id pict pictur ure. e. We take take prid prid an satisf satisfact action ion at being being the posses possessor sor ofthis univer universal sal inheri inheritan tance. ce.
ISBN: 975-17-2756-1
A ku ku rg rg a1 a 1 , E kr kr e Th Ha M in i n is is tr tr y
it
o f C ul u l tu tu re re ,
li
on
2001.
Accord According ing to Ataturk, t h f o d e o f t h m o e r e pu pu bl bl i o f T ur ur ke ke y t o he ru owne owners rs ofa land land is onlyposs onlypossib ible le thro throug ug know knowin in that that coun countr try. y. Fo this this reas reason on we must must do inAnato inAnatoli lia,con a,conti tinu nuin in from from th most most anci ancien en to thos thos ofthe pres presen en day. day.
( Pu Pu bl bl ic ic at at io io n o f C ul ul tu tu re re ;
o f R ep ep ub ub li li c o f T ur ur ke ke y M in in is is tr tr y D ir ir ec ec to to ra ra t o f P ub ub li li ca ca ti ti on on s
I S B N 9 7 55- 1 77- 2 75 75 66- 1
939.22
k.
ri
www.kultur.gov.tr E-mail:
[email protected] E-mail:
[email protected]
First Edition: Edition: 5.000copies
It wa agai agai Atat Atatii iirk rk wh effe effect cted ed th foun foundi ding ng deve develo lopm pmen en an orga organi niza zati tion on of arch archae aeol olog og in Turk Turkey ey as fiel fiel of scie scienc nce, e, teac teachi hing ng an rese resear arch ch Atat Atatur ur foun founde de th Turkis Turkis Histor Historica ica Societ Society, y, thu making making possib possible le resear research ch on the Hittit Hittites es and on the earlie earliest st civili civilizat zation ionsthat sthat lived lived inAnatolia inAnatolia So tha the might might be traine traine on the subjec subjects ts ofAnatoli ofAnatolian an antiqu antiquityand ityand archae archaeolo ology, gy, he sen studen students ts to Europe Europe andAmerica andAmerica in th 1930 1930's 's,and ,and in 1935 1935 he ordere ordere the initia initiatio tio ofthe Alacah Alacahoyu oyu excava excavatio tions. ns.
With With this this ne hori horizo zo of enli enligh ghte tenm nmen en open opened ed by Atat Atatii iirk rk many many fine fine arch archae aeol olog ogis ists ts have have trai traine ne in ou coun countr try. y. Than Thanks ks to th work work carri carried ed ou by thes thes scho schola lars,-all rs,-allas aspe pect ct of the Anatol Anatolian ian civili civilizat zation ion are being being brough brough to light. light.
AKUR AKURGA GALi Li an arch archae aeol olog ogis is of inte intern rnat atio iona na reno renown wn With With hi scho schola larl rl rese resear arch ches es hi work work an th many many stud studen ents ts he ha trai traine ned, d, he ha made made unfo unforg rget etta tabl bl cont contri ribu buti tion on to th advanc advanceme ement nt of the scienc scienc of archae archaeolo ology. gy. MyMinis MyMinistr tr is hono honore re to publ publis is th work work ofthi wort worthy hy scho schola lar, r, enti entitl tled ed Th Hatt Hattia ia and Hitti Hittite te Civili Civilizat zation ions,a s,a book book which which sheds sheds light light on an import important ant period period ofhistory ofhistory extend extend mythanks mythanks to Prof Profes esso so Akur Akurga ga fo hi emin eminen en serv servic ices es
Prep Prepar ared ed an Prin Printe te by Tiikelmat A.~. Phone: Phone: +9023 4619642 IzmirTurkey November November 2001 M. Iste Istemi miha ha TAIA TAIA Minist Minister er of Cultur Cultur
;~
INTRODUCTION REPUBLICOF REPUBLICOF TURKEYMINISTRYOF TURKEYMINISTRYOF CULTURE,200 CULTURE,200 -ANKARA Fro the standp standpoin oin ofarchaeol ofarchaeologi ogical cal and histor historica ica resour resources ces and fro tha ofits fields fields ofresea ofresearc rc an stud study, y, Anat Anatol olia ia is on ofthe worl world' d' most most anci ancien ent, t, rich riches es an most most colo colorl rlul ul countr countries ies Wit its nature nature its people people andwith the cultur cultures es and civili civilizat zation ionswhich swhich the hav crea create ted, d, Anat Anatol olia ia is mult multic icol olor ored ed mosa mosaic ic an very very sple splend ndid id pict pictur ure. e. We take take prid prid an satisf satisfact action ion at being being the posses possessor sor ofthis univer universal sal inheri inheritan tance. ce.
ISBN: 975-17-2756-1
A ku ku rg rg a1 a 1 , E kr kr e Th Ha M in i n is is tr tr y
it
o f C ul u l tu tu re re ,
li
on
2001.
Accord According ing to Ataturk, t h f o d e o f t h m o e r e pu pu bl bl i o f T ur ur ke ke y t o he ru owne owners rs ofa land land is onlyposs onlypossib ible le thro throug ug know knowin in that that coun countr try. y. Fo this this reas reason on we must must do inAnato inAnatoli lia,con a,conti tinu nuin in from from th most most anci ancien en to thos thos ofthe pres presen en day. day.
( Pu Pu bl bl ic ic at at io io n o f C ul ul tu tu re re ;
o f R ep ep ub ub li li c o f T ur ur ke ke y M in in is is tr tr y D ir ir ec ec to to ra ra t o f P ub ub li li ca ca ti ti on on s
I S B N 9 7 55- 1 77- 2 75 75 66- 1
939.22
k.
ri
www.kultur.gov.tr E-mail:
[email protected] E-mail:
[email protected]
First Edition: Edition: 5.000copies
It wa agai agai Atat Atatii iirk rk wh effe effect cted ed th foun foundi ding ng deve develo lopm pmen en an orga organi niza zati tion on of arch archae aeol olog og in Turk Turkey ey as fiel fiel of scie scienc nce, e, teac teachi hing ng an rese resear arch ch Atat Atatur ur foun founde de th Turkis Turkis Histor Historica ica Societ Society, y, thu making making possib possible le resear research ch on the Hittit Hittites es and on the earlie earliest st civili civilizat zation ionsthat sthat lived lived inAnatolia inAnatolia So tha the might might be traine traine on the subjec subjects ts ofAnatoli ofAnatolian an antiqu antiquityand ityand archae archaeolo ology, gy, he sen studen students ts to Europe Europe andAmerica andAmerica in th 1930 1930's 's,and ,and in 1935 1935 he ordere ordere the initia initiatio tio ofthe Alacah Alacahoyu oyu excava excavatio tions. ns.
With With this this ne hori horizo zo of enli enligh ghte tenm nmen en open opened ed by Atat Atatii iirk rk many many fine fine arch archae aeol olog ogis ists ts have have trai traine ne in ou coun countr try. y. Than Thanks ks to th work work carri carried ed ou by thes thes scho schola lars,-all rs,-allas aspe pect ct of the Anatol Anatolian ian civili civilizat zation ion are being being brough brough to light. light.
AKUR AKURGA GALi Li an arch archae aeol olog ogis is of inte intern rnat atio iona na reno renown wn With With hi scho schola larl rl rese resear arch ches es hi work work an th many many stud studen ents ts he ha trai traine ned, d, he ha made made unfo unforg rget etta tabl bl cont contri ribu buti tion on to th advanc advanceme ement nt of the scienc scienc of archae archaeolo ology. gy. MyMinis MyMinistr tr is hono honore re to publ publis is th work work ofthi wort worthy hy scho schola lar, r, enti entitl tled ed Th Hatt Hattia ia and Hitti Hittite te Civili Civilizat zation ions,a s,a book book which which sheds sheds light light on an import important ant period period ofhistory ofhistory extend extend mythanks mythanks to Prof Profes esso so Akur Akurga ga fo hi emin eminen en serv servic ices es
Prep Prepar ared ed an Prin Printe te by Tiikelmat A.~. Phone: Phone: +9023 4619642 IzmirTurkey November November 2001 M. Iste Istemi miha ha TAIA TAIA Minist Minister er of Cultur Cultur
Th
Th Smal Smal
he
on
Hattia ttia
an
Hitt Hittite ite
ingd ingdom om Peri Period od Millennium
g e 1 20 20 0
5 0/ 0/ 70 70 0 B C t h
Th
Civil Civiliza izations
nato nato ia
a t l ia ia n
Hitt Hittite ite
Civi Civiliz lizat atio ions ns
ga
h e r el el ie ie f d ec ec o a t
First
the
e ni ni ns ns ul ul a
Hattian ttian an
a s u le le d
p ri ri nc nc ip ip al al i
es sso out uthe hern rn Anat Anatol olia ia an Syri Syri th Late Late Hitt Hittit ites es in eeaast ster e r Anat Anatol olia ia th Urar Ura rtu tu an exte extennsion sion oft ofth h Hurr Hurria ians ns in cceent ntra r a Anat Anatol olia ia th Phry Phrygi gian an an Lydi Lydian ans, s, in sso out uthw hwes este tern rn Anat Anatol olia ia t h L yk yk ia ia n
an in th
i n l ue ue nc nc e
on
e ge ge a
e ll ll e
t h I on on ia ia n
c i i lili za za titi o
an
a l c re re at at e
ma
c i i lili za za ti ti on on s o f s up up e i o
i mp mp or or ta ta n
c o t ri ri bu bu titi o
q ua ua li li t
t o t h w or or l
h es es e
c ul ul tu tu r
of
today.
Th Late Late Hitt Hittit it it
th
Civi Civili liza zati tion(1 on(120 20
d es es t u ct ct io io n
of
a tt tt us us h
65
ar un
BC
20 BC
ac p al al ac ac e a n
a r o w c ir ir cl cl e
a ri ri st st oc oc ra ra ts ts .
ea i tttt itit e c i i lili za za titi o
r e i on on ,
os
a tt tt us us ha ha ,
p op op ul ul at at i
l ac ac a o y
in
n at at ol ol i
th
an
o th th e a re re a
c on on titi nu nu e
ad al
l at at te te r h al al f o f t h
a s e s e nt nt ia ia llll y o f u wi wi a an
i tttt itit e t ra ra di di titi o
am
t h o ug ug h u t
a s e xt xt i
co
c on on t a st st , t h
er
i n l ue ue nc nc e
i tttt itit e c ul ul tu tu r
co
o ri ri gi gi n t h
o f A na na to to lili a n o
t o e xi xi s
co
F ig ig . 1 0
2 n m ilil le le n i u
BC
t hi hi s
a rt rt wo wo r
k no no w
om
t ha ha t
t oo oo k o n n e
a la la ty ty a
On
Muse Museum um
h e l io io n f r
of Anat Anatol olia ia
th
c itit y wall. 1 05 05 0
85
Civi Civili liza zati tion ons, s, Anka Ankara ra
o rm rm s
Trad Tradit itio iona na Styl Styl II (850 (850 -700 -700 BC I n t he he s ai
p ri ri nc nc ip ip al al itit ie ie s
o rm rm e
o ze ze n
c itit y s ta ta te te s
i t i s o ss ss i l e t o d is is titi n u is is h f ou ou r ch eo
ar
s sy sy ri ri a Hitt Hittit it
i nf nf l e nc nc e Styl Styl unde unde
3) at
i tttt itit e S t l e u nd nd e
Aram Aramae a ean an
Trad Tradit itio iona na Styl Styl
Assy Assyri rian an an
(105 (105
85
a ma ma ea ea n a n
s sy sy ri ri a
i n l ue ue nc nc e a n
L at at e
styl styles es 1)myth 1)mythol olog ogic ical al scen scenes es in th Trad Tradit itio iona na an Aram Aramae a ean an infl influe uenc nces es
Phoe Phoeni nici cian an infl influe uenc nce. e.
in e lili e
a ls ls o o u
th
i n M al al at at y
ll th en
at s la la nt nt e
a la la ty ty a c it it y
ee
a l ( Fi Fi g 1 01 01 -1 -1 04 04 , 1 2 a n i n
d et et ai ai l
ofth
a ni ni ma ma l
ig re
an
( Fi Fi g 1 0
s y b ol ol s s uc uc h a s t h
on on ap
at
in
2 9 1 31 31 , 3 7
t im im e
e c r at at e
t he he i
e ad ad d e ss ss e
it
t he he i h ea ea d r es es se se s
o se se tt tt es es , p ro ro ba ba bl bl y o f g o l it
ol
c oi oi n a r
h e a n l e l en en gt gt h s ha ha w ( Fi Fi g
t h S to to r
od on th
o r c e t ai ai n d et et ai ai l
er i gh gh t i n a cc cc or or da da nc nc e
it
o f hi hi s u llll s a n c ha ha ri ri o a nc nc ie ie n
H itit titi t
ab p ro ro to to c l .
F ig ig . 0 4 h e i s e x ac ac t
Mara Mar a
is
((F Fig ig 179, 179, 180) 180) an he li
icon iconog ogra r aph ph
210
1 10 10 )
ey
an
a r l ar ar ge ge r t ha ha n t ho ho s
i n S t l e 1.
er ap
u r v ilil la la g
o me me n o f t o da da y w h
c on on titi nu nu in in g a n a nc nc ie ie n
at
e c r at at e
i tttt itit e c us us to to m
h ea ea d r es es s
lituus
w om om en en . T hi hi s g ar ar me me n o d a t M a la la ty ty a e xc xc e
Assy Assyri rian an 06
eg
07
0 8 t ha ha t c ov ov e
th
ea
o r p ol ol o a n t h b ac ac k
<;ar~af o f
St rm
p.
ce
e,
h e p o p om om s
96
es
r el el i i ou ou s s te te l
( Fi Fi g 1 05 05 )
i co co no no gr gr ap ap hi hi c ed
(E Akur Akurga gal, l, Th Birt Birt of Gree Gree Art;
ac
BC ar
th
Styl Styl an 2) 2)var vario ious us scen scenes es bear bea rin in
i gu gu re re s
c o t in in ua ua titi o
th
at
i tttt itit e f as as hi hi o
o de de r of
T ur ur ki ki s
il i llll ag ag e
a la la ty ty a C ar ar c e mi mi sh sh ,
Urar Ura rtu tu a di di titi o a l
St le
F ig ig . 1 0
ofthe Impe Imperi rial al Peri Period od
211
12 an
( Fi Fi g 1 1 - 11 11 6 c on on titi n
th
Th
Hattia
an
Hittite
Civilizations
Th
Hattia
an
Hittite
Civilizations
Th Dating ofTraditional Styl II R ep re se nt at i e pi ct i
a d t io na l
ofKi
at
St le
ar
a s ( Fi g 1 30 ) a n
th
b ea re r
h e h um a
s ac ri fi ce s
fi re
in th
Fi
9 , 1 11 ) t h
u si ca l s ce ne s
Fi
75
es ep C a c he mi sh ;
t he s
ar
e fi ni te l
kn
(745 -717 BC). That th Traditiona e ve n a te r Th
E . A ku r a l at Hittit
to av
b ee n c ar ve d i n t h
e ig n o f T i l at h P il e e r
Styl IIl io type is also encountere
in Corinthian work
T h Birth of Greek Art, London 1968 pp 17 Styl Un er
ss rian Influenc
find th earliest traces ofAssyrian influenc
(850
181)
70
in th sculptur
ofZincirli (pronounce
ee 9t centur th
BC Assyrian chignon. Thus we date earl work
e xa m l e he
i la mu wa s ( Fi g
u nd e
l io n t ha t
18
1 9 t o a ro un d
s e i n a e li e t ha t
ofZincirl (Fig 117-120, 122) by
50- 80
C.
a s r ou gh t t o l ig h a t M al at y
(E
r ga l
Hatti ve Hitit Uygerliklen ss ia
r el ie f
t h 9 t c en t
th Assyrianizatio
45 r ei g
27 BC th ofth
ofLat Hittit
Be Fo th
s s r ia n i n l ue nc e t ha t
a ma ea n
e as o
th
a la ty a r el ie f i s a n e ar l
in Ba re ub
se in th
a cc o i n
c ul pt ur e
i nc i l i a n
t o t h i n c ri pt i n , a ro un d
a la t
ss ia
i co no g a p y .
s t l iz e
ea
naturalistic belong
lt ou
depictions s ha p
thes
r a i ti on a
ea (Fig 124-128) th
th
li
k ee p t h
St le plac
an
Fi
to Assyrian art. In Assyrian art e ig n o f A ss u b a i pa l
s tr uc tu r
t he y i nc re as e
t he i e a
ar no Style'
F ro m t h ( F g . 1 ::7) ' t ha t i s p a
also seen in plac ofth
1 02 , 1 13 - 1 6
ofthe Traditiona
(Akurgal, The Birth of Greek Art, P I 8 a b ) th
c ub i
definitely Assyrian detail
in
3 0 B C) , m a
s yr ia n c ha ra ct e i st ic s e nt e at t ti t a r t og et he r it a ma ea n e le me nt s s ta nd po i s ty l a n d at e t h r k o f S a c eg oz u r o o un ce d S ak c e -g oz u
ticula to Hittit
h as e
art.
31
7 ) t he r
is ow
half-ellipse shaped cheek-
es m be r t w i n t h th ee
k ur ga l
8 t c en tu r h e Birt
B C F ig .
4 -1 28 )
of Gree Art,
Fig. 7)
Fig. 102a-c
City wall relief from Aslantepe, near Malatya. Basalt Height 44.5cm King Sulumeli offers to th Sk Go th bloo ofa sacrificed bull Late Hittit Period 1050- 85 Be
Th
to gu
t ha t l ol l
ut an
i s t uc k
th lo er ja
t yp ic a
ot
r a i ti on a
st le
Museu
ofAnatolian Civilizations,Ankara
T r a di t io n a l S t y l 212
I.
213
Th
e xa m l e
F i . 1 4 - 2 8) .
H at ti a
an
H it ti t
o t e r i nn ov at i
C iv il iz at io n
s ee n o n
Th
s s i an iz e
at
i tt it e l io n
H at ti a
an
H it ti t
C iv il iz at io n
i s t ha t
am Z i c i l i a n S ak ce go z (E. Akurgal,
li ns
Fi
2 4 1 28 ) l at e i t w il l p a
Anadolu Uygerhklsri,
s t l iz at io n t ha t i s e e
th
87
23
i nc ir l a n
from Assyrian art. This iconographic
27
S ak ce go z
i nt o
he
el en
ar as
o -f ol d d i i si o
l io n
Fi
27
28
a rp e
of th
detail will take th form oftw parallel rods in Urartian
Anadolu
(E. Akurgal,
Uygerhklsrt,
c ha n e d Th
ir
o re le g
3 7 a ls o c o e s
p. 18 Fig. 237)
t h t ra di ti on a me
st le
i nc i l i a l
characteristic
ho
C a c he mi s th
t h h ea d
sa
typica ofth Traditiona
i c n og ra ph i
th
ir
d et ai l
ma Fi
i s a n e ag le ' 2 1) .
h ea d
c o t ra st , i n
Styl th beak is open th tongue loll out, th lowe
F ig . 1 0
M a a ty a B eh in d h i
a ne .
us
th bi
ma
e n i ch e
a t S ak ce go z
ic
ha
ig
q ua li t
s c l pt u
e li e
ro
h e c it y
l l o f A sl a t ep e
i s h i s on . 1 05 0 - 8 5 0 B C M us eu m
Th
S k G o k i l s h e d ra go n
l lu ya nk as .
o f A n at ol ia n C iv il iz at io ns , A nk ar a
Early Traditiona Style
k-
en ar i n l ue nc e
s ha p
ec o t ra st , t h t ra ns f r ma ti o
u t a s t ak e
th
e ta il , t hi s i nt er es ti n a ls o i n p i e d
th
ofth
rm ofa ud ea
ofa bi
e xa m l e o f t h
bi
e ll e an
ad
a n' s l o e r
a s p ai nt e t h S ak ce go z
S ak ce g z u t y
ea
i nt o t h j a
o f a l io n
o ul d l at e c op y o rk sh op .
e ta i f o
a rt ia n a r
as
k u g al , Ancient Civilization and
Ruins of Turkey p. 29 Fig. 135)
also Assyrianized as i s a ls o
un
examples (E. Akurgal, Th Birt of Gree Art, p p 1 2 el ar
inwo
e w B a y l n ia n a r
BC see: Ibid., p. 70
oi
o f th e h ai r
a s o un d c a e f l l
om th
25 Th
t yl e o f elef
e ig n o f Marduk-Apal-Iddin
(721 71
I. 19).
a n t h d ia go na l u ri e
ol
in on ofth
t h m a t le , t h m on um e t a c it y
al
Sakcegozu
s ta t
ofa in
a la ty a i s c l s el y s i i la r t o t h
t ha t e li e ea
F ig . 1 0
K in g S ul um el i m ak e
a n o f e ri n
he
eahe
M al at ya . 1 05 0 8 5 B e M us eu m o f A na to li a
(Akurgal
Th Art of the Hittites, P. 99,
I. 106 -107).
od
o rt h s ta t
b lo c
ro gh
ro
C iv il iz at io ns , A nk ar a
Lat Hittit Traditional Style 1. Ther ar tw com plem entar
scenes in this relief O n
th left is seen th Weathe Godin his chario drawn by the sacred buIIsSeri an Hurti. Th fth
el a la f en
o rk s F ig . 5 0 1 56 ) c a n o h a ee a d e a l ie r t ha n t h l as t q ua rt e et la sculptur de Tell Halaf" Florilegium (E. Akurgal, "L'architectur 214
O n th righ he ha descende
from th chario an is acceptin th
Sulumeli. 215
libation of King
Th
Hattia
an
Hittite
Civilizations
F ig . 1 0 Anatolian Civilizations F ig . 1 0
e li gi ou s r el ie f r o w if e t h
Su
G od de s
a la ty a - A s a n e pe .
s al t T h
W ea t e r
th
ky nd hi
o f A ri nn a a r f ac e t o f ac e 1 05 0 - 8 5 0 B C ( Ma ur ic e V ie yr a Hittite
Art, L on do n 1 95 5 p . 7 5 N o 6 5 P I 6 5) . M us eu m o f A n at ol ia n C iv il iz at io ns , A nk ar a Lat Hittit Period Traditional Style I. In accordanc wit Hittit protocol the Weathe G o ofthe Sk is on th righ an hi wife Kubaba is onhis left (Fig 5 3 7 2 8 8 1 22 ) From th standpoint ofstyl this relief is simila to th work on th Aslantep city wall and to works of the Imperialperiod. Fo example, Kubaba's skirt is als see on thegoddesses of th city wall (Fig 102b and on th quee atAlacahOyu (Fig 82a) Al th
Ankara
Kubaba holds er probabiblity she held mirror, Hittit symbol offemininity as we se in anothe depiction of th Late Hittit Period Traditiona Styl II (Fig 107-109).In this Kubaba relief we se an attractiv example of the comely faced people of the Traditional Style II. This profile, with it larg eyes, elegan arched nose regula mout an lipsand wellpropor tioned chin is trul charming Here an in th Chimer relief (Fig 137) th very welJ preserve earhas been rendered in th same wa as in th othe figure (Fig 108,109) Th polos, or headdress, with it decoration of gold rosettes (Fig 177) is an original
detail of th Teshup figure an th winged su symbol ar identica tothos on th city
Hittit creation No only di it pass into Urartian (E. Akurgal, Anadolu Uygerltklsn,
wall (Fig 102c an to thos of Bogezkiiy. In contrast Kubsbs's hairdo an he polos,
F ig . 1 81 , 1 82 ) and Hellene (E. Akurgal, Anadolu Uygerhklsri, Fig.144, 151) art, it ha
together with th mantle thatcovers it ar styl elements thatappea in th Late Hittit
also continue in us up to th presen day. Anatolia peasan wome keep aliv th Hittite fashio wit their hea dresse adorne wit gol pieces The Lat Hittite ladies
Period. The oldest example of shawl tha covers thepolo and hang down tothe heel i s s ee n Akurgal,
th
u ee n w h o ff e
l i t io n t o I sh t
o n t h c it y
a lJ o f s l t ep e (E.
Hatti ve Hittit Uygsrhklsn, P I 8 8c ) T h polos under consideratio
(th head-
wor their shawls in three different ways: 1) Leavin onl theface and breast uncovered (Fig. 107, 108 123, 179, 180). 2) Completely covering th polo bu leavin th body
dress decorated withgold coins ofpresent dayAnatolian peasan women) and theman-
uncovered. 3) Covering only
tle are, as we shall see below, originaland beautiful sartorialcreations of the Lat Hittit Period (see: Fig 106-108,123,177, 180).
uncovered, extendin down to th ankles (Fig 105) Itis interestin of allthre styles still continues inAnatolia.
216
portio of th headdres
217
and, leavin th whol
body
tosee that th us
Th
Hattia
an
Hittite
Th
Civilizations
Hattian an
Hittite
Civilizations
Anatolicum M e l an g e L a ro c he , Pari 1979,pp 1- 28).A number offactor reveal that th artistic creation ofthi center belong to th year betwee 72 70 Be th hairstyles of th huma figures, th iconographic detail ofthe lion figures, tw Phrygian vessel an bronze bow found togethe (E.Akurgal, H a t t v e H i ti t U y g er l ik l sn , Fig 129-131) an espe ciallyth fact tha th B i t H i l an i ofTell Hala closel resemble thos ofthe earl 7t century at Zincirliand Assur. Th Late Hittite Styl Unde Aramaean Influence
B eg in ni n w it h K il a u wa s ( 83 2 8 1 B C t h A ra ma ea n k in g o f i nc ir l s ho w differentheaddres andstylization ofhai an beard (Fig.118,119) It isalsounderstood tha the vertical diagonal fold of their garment are an Aramaea characteristic (Akurgal, Th B ir t o f G r ee k Art, pp 53-66).We hav seen abov tha at Zincirl (Fig 149)and Sakcegozu (Fig 143, 148)works of superior qualit come into bein in th reig of King Barrekub ( ar ou n 7 3 B e) . h i a r c on si st e o f H it ti te , s sy ri a a n A ra ma ea n e le me nt s a n achieved new dimension thank to the prosperity brought by the Aramaea kings S em it i g ro up s c a f ro m t h s ou t a n e xp an de d t o n or th er n e so po ta mi a a s result Phoenician as well as Aramaean characteristic bega to be dominant in Hittit art. Th products ofa rich middle clas that develope at Ivri an Mara inthi period (end of th th eg in th 7t en ar th ti in to ar (Akurgal, Th B ir t o f G re e Art, Pl 26- 29).That writin wa also used inthese relief is a n i nd ic at io n o f t h h ig h s ta nd ar d o f c ul tu r i n t ha t p er io d T he s c re at io n i nf lu en ce d Hellen ar in many aspects, as we shal se below. Nowlet us look at fe ofth most beautifu ones
F ig . 1 0
R el ie f o f t h 85
G od de s
7 5 B C M us eu m
K ub ab a a t C ar ch em is h
Traditiona Styl II Kubaba sits in he hand sh hold
B as al t H ei gh t
9 5c m L at e H it ti t
P er io d
o f A n at ol ia n C iv il iz at io ns , A nk ar a
chai whic rest upon th back ofa lion In on of
pomegranate, symbol offertility. In th othe hand is
Th mirror is describe as "thesymbol of women" in Hittit writte sources. 218
mirror
On ofthe earliest work that came to ligh from th excavation at Zincirliis no on displayin the Berlin Museum. It depicts the Aramaean Kin Kilamuwaswith another person wh is probabl hi so (Fig 118,119).We learn tha the reliefbelong to thi king from the i ns cr ip ti o o n a no th e t el e f ou n i n t h s am e p la c ( se e L u c ha n AI 375, Fig. 273; o f G r ee k Art, Pl 54,Fig 10).Th larg diagonal chigno on th nape of Akurgal, T h B i th neck ofbot figure is stylized accordin to th Assyrian fashio an reveal that th stel belong at th earliest to th reig ofAssur-nasir-pal Il (883-859BC).For th presen this relief is th earliest depictio at Zincirli ofan Aramaean king Th ca on Kilamuwas' head does no exis inAssyrian or Hittit art; itis Aramaean headgear Though th hair an beard are stylized in Assyria fashion Kilamuwas does no have mustache in accordance with Hittit custom Incontrast, th nose ofboth figure ar no ofth shap ofthos seen inthe Hittit style;the ar ofth curved type that we se in Semitic populations The kin hold inhislef hand an hi so inhi right, th symbol ofsovereignt inth form ofa lotu bud. In anothe relief from Zincirli King Barrekub is depicted (Fig 138).Thi orthosta is als inthe Berlin Museum itsinscription inAramaic reads "Iam Barrekub, so ofPanamu 219
Th
Fig. 108
H at ti a
an
H it ti t
C iv il iz at io n
Wome following in the ceremonia processio
Th
Hattian an
Hittite
Civilizations
le by Kubab (Fig 107).Carchemish
Basalt Height: 95cm. 850- 750BC. Museum ofAnatolia Civilizations,Ankara
Lat Hittit Period Traditional Style II.
F ig . 1 1 Fig. 10
Bearers of sacrificia animals. Carchernish Wall relief of basalt Height 100cm Late Hittit Period 850- 750 BC.Museu
ofAnatolian Civilizations Ankara.
Traditional Style II.
t at u o f a k in g e at e u po n
b as e w i t l io ns . C ar ch em i h . B as a t . H ei gh t l 60 cm . 8 5
750Be. Museum ofAnatolian Civilizations,Ankara
Th bear ofthe deity upon the bas is, lik tha ofKing Katuwas, in theAramaea style. Th lion belong in al it detail to th Traditiona Styl II This severely dam age statue is no in th museum depot.
220
221
Th Hattia
an Hittit
Civilization
Th Fig 113
Hattia
an Hittit
Civilization
Statue base with lions. Carchemish Second half of th
8t centur
Be Museum of
Anatolian Civilizations,Ankara The base with lion is from th Traditiona Styl II
Fig. 114a,b
On ofth lion from th inne gate ofth city's oute walla t Zincirli 832- 81 BC The Hittite Traditiona Style underAramaean influence.
fth
oli
at Zincirli. 832- 810Be.
The Hittit Traditional Style under Aramaean influence
Fig 116
Zincirli.Relieffrom the outer cit wal ofZincirli 832- 810BC. Hittite Traditional Style unde Aramaean influence.
Fig 117
Wa chariot. Zincirli.832 810BC.Museu
ofthe Ancien Orient, Istanbul.
Traditional Style showin Aramaean andAssyrian influences. Fig 118
The Aramaean Kin Kilamuwas Zincirli. (832- 810BC). Berlin Museum Kilamuwa an hi so behind hi
ar executed in the Assyro-Aramaean style.
my go is Baal Harran". Barrekub wa king around 73 C.Befor hi hi scribe stands at attention. Th nose ofboth ar ofth curved emitic type Onhis head hewears type of tiar particular tothe Aramaeans. Hi hair an bear ar inthe Assyrian fashion, he even ha mustache contrary to Hittit tradition. Th lock ofhair that fall in fron ofhi ea is an Aramaean hoenicia element. Th throne upon whic he sits is worked accordin to Assyrian examples Th fold ofhi garmen willlate pass to Hellen ar byvarious routes I n h i r e i e h er e ng ny ra e le me n in t ti te ; i t i s t ir e Aramaean -Assyrian product. Onlythe scribe make th Hittit gestur ofrespect with hi closed fist.
Fig.
la
Relief from Carchemish Museum ofAnatolia Civilizations,Ankara The Hittit Traditional Style continues in th second half of th 8t centur BC
Fig. 11
Th head ofon ofth lion att he citygate Malatya,Aslantepe. 1050-850BC.Museum ofAnatolian Civilizations, Ankara. Earl Traditional Style 222
Becaus ofit importance wewis tomention funerary stel (Fig 139)whic came to ligh at Zincirli an which, like th tw above-mentione reliefs, is no on displa in th Berlin Museum Th woma sittin inan armchair is princess That sh is princess or more correctly, th wifeof king is understood from th winged su symbol abov he an th lotu bu sh hold in he left hand he head sh wear th Aramaean tiara. Th quee or princess is adorne with very valuablejewelry Beside th tiar thes consis ofa necklace bracelet on both wrists an ankles an Phrygian pi onher breast probably al thes ar ofgold Th verticalpleat ofhe skir were late to bethe fashio inHellene work ofth 6t centur Be Before he stands servan wh chases flie from th princess an cool he with fan;accordin to Aramaean fashio this maid ha lock ofhai whic fall downto he chee infron ofhe ear. Th foodupo th tabl reveal that this stel depict "f er fe st s ee s o n ef fi i ec e o f f la t r e po th tw ea patties, on th righ smal bird roaste quai an then in dishes what ar probably variou kind ofcooke food In this scen ther is single Hittit element, th winged su symbol. 223
e H
n a
e C
e H
Fi
2 0a -
e le f o f t h
T ra di ti on a Fi
21 -c
o ut e
l ie f o n h e o u e r
s te l
d ep ic ti n
T hi s s te l Kin
k in g v er y p ro ba bl y K in g K il am uw as . Z in ci rl i B as al t H ei gh t
S ty l I , c om pl et el y
c ar ri e
K il am u wa s
u nd e
n o i ns cr ip ti on . H ow ev e w h o r ul e
5 8. 5c m
A ra ma ea n i nf lu en ce . 8 3 - 8 1 B C B er li n M us eu m
i n Z in ci tl i
most
224
t he r
is n o d ou b
p r ob a b l
a t h e m ag e is t ha t o f
b e tw e e n 832 a n 8 1 B e
a l o f Z in c l i 8 3 - 8 1
it
al
u nd e A ra m ae a
Th Rock-Cu Relief at
L at e H it ti t
e C
S ty l I I u nd e A ss yr ia n a n A r am a ea n i nf lu en ce .
T ra di ti on a s ty l
F ig . 1 1
c it y
n a
i n i ri .
32- 10
e.
i nf lu en ce .
Ivriz
la el ef ig an cu ck ac ng ea Ereglis (pronounced Ereghlisi is monumental example ofAramaicize Hittit art an on ofthe most important work ofthe Late Hittite Period (Fig. 144-146).Fro th hieroglyphs infront ofth face ofthe go figure it isunderstoo that th monument wa made by King Warpalawas Th capof the god, th large curved nose and th hair an beard stylizatio of both figure ar Aramaean elements Th horn onthe ca ofth go ar arranged in mann e p ar ti cu la r t o t h r a a ea ns ; t hi s i s a ls o s ee n o n t at u o f H ad a a t i nc ir l h ic h belong to th reig ofthe Aramaean king Panamuwa (Bossert Altanatolien, Fig. 955) KingWarpalawas wear richl decorate robe an the Aramaean type mantl that we recognize from the Zincirli and Sakcegozu works. Th king's headdress is als finely embroi dere an decorate with pearls On it fron is also roun ornament ingol filigree Th kinghas fastened th tw ends ofhi mantle with Phrygian pi whic wemayals assume tobe ofgold Th belt ofboth th king an th go ar Phrygian work 225
Th
Hattia
an
Hittit
Th
Civilization
Fig. 12
Th
eb
ya
Hattia
an
Hittit
Civilization
l ie f a t i li fk e 7 5 - 7 0
Continuation ofthe Late Traditiona Styl II This relief carved ona rock face wa discovere by Prot Hors Ehringhaus From th standpoint of th palo an th garmen it is simila to th work of Malaty (Fig 105) an Csrcbetiiish (Fig 107, 108) Th m antle whic envelope th head orpalos an th back of th body tothe heel whil
leavin the front of the bod uncovere nine wea of women ofMara~an
(Fig.102c,107,108 180 wasa fashio
oiiemi-
characteristic ofLate Hittit art For this reason the
Kebe reliefmus have been made afte 750BC Th mantle inquestio does no appear Fig. 12
no le
ou le at
B C M us eu m
di in
o f t h e A nc ie n
an
r in k n g
O ri en t
a b e . Z in c r l
as lt
e ig h
12 cm 83
81
I st an bu l
Lat Hittite Traditional Style under Aramaean influence Period ofKing Kilamuwas. In this scen offeasting th m a ison th righ an th wom a on th left inaccordanc with Hittite protocol. 226
in work of th Imperial period Though they each have apalos simila to
Kebe relief th female figure seen at YazllJkaya (Fig 52b) do no wearmantles Th trailingm antle of th figure ofKybel at Kebe is seen in work bearin Phoenician influenc an made in th period 750- 700Be. (E. Akurgal, Orient und Okzident, p . 1 5 Fig. 107, 110) 227
Th
Hattia
and Hittit
Civilizations
F ig . 1 24 a, b
A sI an T a s a ) A l io n f r o t h t im e o f T ig la t P il es e ( 74 5 - 72 7 B C) . Th most characteristic elemen is th wrinkl in th form oftwopalmett leaves underneat th eye. b ) L io n t yp e f ro m t h t im e o f S a rg o I I ( 72 1 - 7 0 5 B C Th m ost characteristic elemen is th wrinkl in th form of thre palmette leaves underneat the eye
Fig. 125
Abas with lionsfromTellTainat. Second halfof the 8t century Be Antaky Museum Hittit Styl unde Assyrian influence. As column base with lions, it is Hittit work. Bu allthe detail of thelion areworked according toAssyrian art.Its dat is determine by the two wrinkles in t h o r o f pelmctte l ea ve s u nd er ne at h t h e ye s
F ig . 1 2 6
e a o f a l io n f ig ur in e I s a n o f S am os . I vo ry . 7 50 - 7 00 B e . M us eu m o f S am o Lat Hittit work under Assyrian influence
F ig . 1 27 a, b
L io n f r o t h c it y g a t a t S ak ce go zu . 7 30 - 7 0 B e M us eu m o f A na to li a C iv il iz at io ns , Ankara. "Hittite lion showin Aramaean an Assyrian influences Essentially, no on of th Hittit characteristic remains. Even th block-shaped body ha change an th lion has acquired more natural proportions. The stylization of th left forele an th triple bead moti on th hind legs ar like thos on th Zincirli sphinx The stylization in the f or m o f a l et te r W o t h h i a s t ak e t h f or m of letter N. Thi new hip stylization passe int Urartianart
F ig . 1 2
G at e l io n a t Z in ci rl i. 7 3 0 - 7 0 0 B C. M u se u o f t h A nc ie n O r e nt , I st an bu l H ittit lion showin Aramaean an Assyrian influence. Asid from th bloc like shap of th head an body al th elements ofthis lionareAssyria (the tw wrinkles unde th eyes th ears th hi stylizatio in t h f or m o f a W) or Aramaean characteristics. The stylization in th form ofa triple bead on th back legs together with th wav lines on the chi andforelegs arecontributions of the Zincirli-Sekcegozu artisans. 228
Th
Fig.129
The T i l B a rs i
Hattia
and Hittit
Civilization
R e li ef . S ec on d h al f o f t h 8 t c en tu r
Be
Hittite TraditionalStyle under Aramaean influence Apart fro allthe elements arefrom the Hittit tradition Fig. 130
King Katuwas. Carchernish:
Inthi relief also apartfro Hittite tradition F ig . 1 31 , 1 3
theAramaea typ beard
B ir d M a f ro m C ar ch em is h Civilizations, Ankara.
th Aramaean type beard,allth elements ar
S ec on d h al f o f t h 8 t c en tu r
from th
B e M us eu m o f A na to li a
Hittite Traditional Style under Assyrian andAramaea influence Fig. 133,134 Bird Ma from Sakcegozii. 730- 70 BCMuseum ofAnatolian Civilizations,Ankara
Hittit Traditional Style under Assyrian andAramaea influence Fig 135
Hea of Ankara.
Griffin.Fidanhk, Ankara. Around 700 Be. Museum ofAnatolia Civilizations
Lat Hittit Style showin Aramaean andAssyrian influence 229
Th
H at ti a
an
H it ti t
F ig . 1 3
C iv il iz at io n
S ph in x f ro m t h g at ew a a t Z i nc ir li . 7 30 - 7 0 BC Museu Aramaean h ai r s ty l
ofthe Ancien Orient Istanbul.
art u nd e A ss yd a f ir s a pp ea r
time of B sr re ku b i ff er en t th
i pl e b ea d
- S ek ce go zi i
Th
ot
t h a nk le s of th hind legs ar characteristic
s ty li za ti o and
world and ultimately
o n t h l ef t f or el e te
u se d b y
is
v ar ia ti o
r ar t a n
of th
o n A s sy ri a
r ti sa ns ;
( ar ou n
sh pe
om
Th
a re a i n t h
7 3 Be). The rather
s ty l z at io n
on he hi
an
sculptural work of Zincitli
m od el s he
i nf lu en ce .
i n t h H it ti t
O n t h A ra ra s r el ie f
w il l p as s t o h e
c yt hi a
to th Median workshops.
I n c on tr as t t o t h A ra ma ea n a n P lu yg ia n e le me nt s w e h av e j u l i t ed , n u b e o f Hittite characteristics also strike th ey inthe Ivri monument Asat Eflatunpmar the location ofth monument by sprin is Hittite custom That th king hold hi tw fist infront of hi face is typicall Hittite; we have seen th same gestur in relief from Alacahoyii (Fig 82b) belongin to th Grea Kingdo period Th pose an th clothe ofth go ar completely in Hittite style. Hi shor shirt reaches th knee an ha swallowtail-shape he as onthe sk go ofth Malaty reliefs.Th position ofboth hand islik that seen in the Yazihkaya reliefs (Fig 52-55).Th sign seen in th hieroglyphic inscriptio indicate tha th deityhere isthe sk go ofthe Hittites. Bu here agricultura symbol lik the sheaf ofwheat an th bunc ofgrapes have been added. Thus th go here isnotonlythe go of the sk bu also the creator ofvegetation. With this appearance th Ivri rock relief is monument made by th Aramaean king Warpalawas forthe natives ofHittite and Luwianorigin. In point offact the inscription on thi monument ofan Aramaean king is no inhis ow language bu in th hieroglyph used by hi subjects Warpalawas th king name by th hieroglyphs, is mentione in Assyrian annals from 738BC on under the name Urballa (Luckenbill,Ancient Records ofAssyria an Babylonia, s.v. "Urballa"). Thus it become clear that th Ivri relie wa execute aroun 73 BC.Tha th relie resembles th work ofBarrekub at Zincirli (Fig 149)and alsoworks from Sakcegozu, plus th presence ofa Phrygian fibula andbelt on th king' garment indi cate that th carvin wa more likely done around 720Be. Th rich geometri design onthe clothing ofth king inthe Ivri monument passed to (E. Akurgal, "Ein ephesische Elfenbeinstatuette aus Erythrai", Festschrift Vetters Wien 1985,pp. 43- 50). Likewise th headdres decorate with pearls passed to th Lydian an throug them into Ionian ar (Akurgal, Th Birt of Gree Art, pp 212- 214) 230
Fig 137
Th he o f h e h im er a r e i ef . a r h em is h Museum ofAnatolian Civilizations,Ankara. Late Traditiona
Styl
II. H er e
t ic s I n c on tr as t t h Aramaean influence
p re se nc e
t h h um a of
Se on
h ea d b ea r
h al f o f h e 8 t
o bv io u
H it ti t of
231
c en tu r
BC
e th ni c chsrsctetisan
Th
F ig . 1 3
K in g B ar re ku b Museum
H at ti a
Z in ci rl i B as al t
an
H it ti t
H ei gh t
Th
C iv il iz at io n
an
H it ti t
C iv il iz at io n
1 12 cm . A ro un d 7 3 B e D a V or de ra si at is ch e Museum
Berlin
Lat Hittit Style II under Aramaean influence The chigno on King Berrekub's neck is smalJ,in accordance withAssyrian examples from th late 8t centur Be 23
H at ti a
Berlin
Late Hittite Style II underAramaean influence. The ornament on th breast of th noblewoman is
Phrygian fibula 23
Th Hattia
an Hittit
Th Hattia
Civilization
Fig 141
Victor relief Carchemish
an Hittit
limestone.
Civilization
Height 122cm. 75
70 BC Museum of
Anatolian Civilizations,Ankara. The heads and hand of vanquished enemie ar displaye asmarks of victory.
Late
Hittite relief underAssyro-Aramaean influence.
Fi 14
Tw warriors killin
prisoner Carchemish limestone. Height 122cm.750-70
BC
Museum ofAnatolia Civilizations,Ankara Lat Hittit relief under Assyro-Aramaea influence In th tw relief th cu ofhai an bear of th si head are Assyrian; the ringlets of the hair and b e r d r e i n Fig. 14
ar chariot. Carchemish
Height 175cm. Second halfofthe 8t centur Be Museum
ofAnatolian Civilizations,Ankara. Lat Hittit Style under Assyro-Aramaean influence 234
a-
maean style. In contrast, thegarments arerendered in the Traditional way The display ofsevere head asan imag of victor an the slaughter ofprisoners is rianpractice never encountered among the humane Hittites. 235
native Assy-
Th
F ig . 1 4
H at ti a
an
H it ti t
D et ai l o f t h e S ph in x r el ie f S ak ce go zi i
C iv il iz at io n
7 5 - 7 0 0 B e M us eu m
Th
o f A na to li a
H at ti a
an
H it ti t
C iv il iz at io n
C iv il iz at io ns ,
Ankara.
Lat Hittite Style under Aramaean influence Tha the Sphin has mustache is contrary to th Hittit tradition.The brai that hang down in fron of th ca with pompom is an originalAramaea fashion. In ou dayJewish priest andfundamentalist still bea th tres ofhai upon th cheek. 36
Be. Late Hittit Styl unde Aramaean influence. With hi tw hand closed as fists, King Warpalawaspresent hishomage andthanks to the Go ofPlenty, wh symbolically car ries shea ofwhea an bunc ofgrapes. 237
Th
Hattia
an
Hittite
Civilizations
Th
Fig. 14
an
Hittite
Civilizations
D et ai l o f F ig . 1 44 . t hi s p ho to gr ap h facia profile is see
F ig . 1 4
Hattia
p la st e
c as t o f K in g W a. cp al aw a
in th I s a nb u
us um
(71Jenose o f t h o ri gi na l i s n o b ro ke n) . The h ea dd re ss , belt an th fibula on t h b re as t o f K in g W a. cp al aw a are of Phrygian origin
D et ai l o f F ig . 1 44 . 238
intact
239
th th
Th
Hattian an
Hittite
Civilization
Th
Civilizations,
Hattian an
Hittite
Civilizations
Ankara.
Late Hittite Style under Assyro-Aramaean influence. F ig . 1 49 a
e li ef s f ro m h e p er io d o f K in g
r re k b ,
Z in ci rl i
30 70
r li n
u se u
Berrekub is mentione in Assyrian writte source from around 730Be. Late Hittit Styl unde Assyro·Aramaea influence. Th work from Sekcegozii ar in th same style.
Th Phoenician Styl in Northern Mesopotami
an in th Sout
an
Southeas
of Anatolia ua ut ra
ho o rk s
or
o rk s
ba
de
ou
di pl
ha
uc
om
ma
bv us
va
g yp t
ofth
I n p ar ti cu la r t h Late Hittite
S ty l u nd e
A ra ma ea n
i nf lu en ce . 7 3
7 0 B C D a V or de ra si at is ch e
M us eu m
B er li n
Figure of bir headed spirit becam the model for HeIIen griffins. (E. A k ur ga l " Zu r E nt st eh un g
de
M ai n
e in , 1 9 2 , p p
g ri ec hi sc he n
G re if en bi ld es "
Kotinos: Festschrif fur Erika Simon,
m ad e u nd e
ry
i vo r f ig ur e
P ho en ic ia n
nc hi
"M na
of
o f N e mr u
i nf lu en ce . T he s
s t l iz at io n o f h ai r g ar me nt s gd d"
an me
uc
ra
ha
h e f ig u
go u,
g ar me n rk
pr pr
nton
ri
he
1 60 ) ho
c lo s
s im il ar it ie s t o t h
l at e H it ti t
w or k
s im il ar it ie s a pp ea r i n d ep ic ti on s o f p o lo s h ea dg ea r f o d s c ha ri ot s he
Greek Art, P I 3 7 3 8 4 1 4 3) .
-52) 240
ofth ni
ha
( E A ku rg al , T h Birth of Greek Art, p p 1 4
abi
rt mo
241
l io n
an
p hi nx es . ur
M al lo wa n' s The Birth of
e C
e C
fTe
Be
-70
Th lionand th go figure upon it fi.1I1CtiOIl as
column This work is th firs exampl
in histor of
caryatid Th othe relief show th prunin of date palm Thus it becomes clear tha theAeoli typ column capita originate fro the date palm.
Fig 152a,
Th
T el l Halaf r el ie f 7 2
7 0 Be
The flame shaped stylization on th haunches of th ox
th
i on g iv e t h d at e
these works. -7 The archer is see
Be
wit the garmen of Sakr;egoziifigures -7
The comba betwee
Be
man andlion mainl shows Phoenician influence -7
Be
The Tel Hala!reliefs Lat Hittite Style showin Assyro-Aramaea influence The flameF ig . 1 5
S ta tu e o f
god. Tell Halaf. 7 3
Lat Hittit style showin
70
Be
Assyrian Aramaean and Phoenicia influences 242
shaped stylization tha we see on th male sphinx in c ) i s alsoseen on the animal images of theAraras relief (See: E . A k u rg a l Hetti ve Hitit Uygsrltklsrt Fig. 177) 243
Th
H at ti a
an
H it ti t
Th
C iv il iz at io n
H at ti a
an
H it ti t
C iv il iz at io n
-70 The garments of th wom a figure in b) ar like thos of the Sskcegozt image mad
betwee 730- 700Be. Th Tell Hala work were executed in th last quarte of th 8t centur Be. F ig . 1 5
l ie f f ro m p al ac e
F ig . 1 5 F ig . 1 5 F ig . 1 6
71
a rc he m s h
in
6 9 B C M us eu m
ra as pr se ts o f A na to li a
hi
on
a ma n
to he noabes of he
C iv il iz at io ns , A nk ar a
stylizatio
r ar a
m is h 7 1
p re se n
hi so
6 9 B C M us eu m
a ma n o f A na to li a
h e n ob le s o f t h
At Carchemish earlie orthostats were remove
an ne
hair style of the human figure in the Araras relief i s 70 BC). Th
threefol
p a a ce .
l ie f f ro m
a rc he -
C iv il iz at io ns , A nk ar a
m uscle stylizatio
ones pu in thei place. Th the fashion of Sargon II ( 72 1
seen on th left ar
of
ra as is ls
characteristic of the time oi Ssrgoti II. Kamanas' bel is in thefashion of Sanherib (704684 BC) According to these definite dat the Ararasrelief wer mad betwee 717 and lief from Sekcegbzii This is Babylonian fashio an wefirs encounte it in th styl of the New Babylonia Period kin
D et ai l o f t h e A ra ra s r el ie f
Th
K in g
691Be. Th verticalpleat seen on th back of the rob of Araras ar alsofoun in re
D et ai l o f t h A ra ra s r el ie f
Detail from th
F ig . 1 6
Araras reliefs. Carchemish
on th animal's forelegs is on step furthe that th stylizatio seen in
lion an sphinx depictions from Sakt;egozi an Zincirli In this form it passed to Utsr tianart This stylizatio wa late to be used by Skythian an MediaDart 244
Mardukapaliddin
( 72 1
710BC). See: DasVorder
asiatisch Museum Berlin Katalo 1992, p. 109,Abb. 54. At Carchemis sculptura art is now (717 69 BC) completel under Assyrian influence Nevertheless thefigures are stillholding their empty hands as clenched fists, extending the
forwards and upward
in the Hittite traditionalgesture (Fig. 162). King Araras hold hi son' hand in manner resemblin tha of the god Sharruma embracing Kin Tudhaliya IV (Fig. 55) 245
Th
H at ti a
an
H it ti t
C iv il iz at io n
Th
Fig. 163
Th
H at ti a
c h l d e n o f Ar a a s a r
an
la in
H it ti t
C iv il iz at io n
k nu ck le bo ne s
n d s pi n i n
op 71
691 BC.
This relief is on of the earliest and most interesting "genre scenes in history.
-69 Fig. 162
N ob le s o f t h e p al ac e o f K i n
A ra ra s 246
Lat Hittit
works under Assyrian influence 247
Th
H at ti a
an
H it ti t
C iv il iz at io n
Th
Th Sculptur
H at ti a
1 66 - 7 3) . T o e th e
C iv il iz at io n
it
th
a ra te pe , n o t h
r el ie f
i s a ls o
a na ,
b il in gu a
el
i ns c i p i o
t h T h B os se rt , in
a le t
i tt it e u wi a
h ie r
in Phoenician
e a t in g a n l is te ni n
u ne ra r
H it ti t
of Karatepe
h e e li ef s b r u gh t t o l ig h a t
glyphs an
an
s te l
u si c
r i c es s
r a c he s i n t he i
an s.
F ig . 1 67 ) S i t in g i n h i a rm c a i
Fi he
39 sa
s e a nt s c ha s pe pl
ol
r in ki n
ol
m ea t a l
a wa y f l e s a n c o cu
im
e ad y B e i n
in is
it
th
t h l e t -h a ey an
ar he ea t.
t h l o e r e gi st e
h e o u l e l ut e yt mi
ly e,
ha
si
or th
in er
j ec t
t h m or e t ha t t hr e
he playin
a ra te p
adoi in
na ch
s hi p
Fig. 13
t h s ta t i s
t a b ou ri ne ; Th
n o d ou b
r e a in i
o ze n o rt h s ta t
o f a il y l i e , d e i ct io n
Hittit Uygsrhkleri,
ofth an
q ua rt e
he
ar
o rt ho s a t
u si ci an s a ki n
e pi c
a re , b e i de s s ce ne s
a rr i s ,
a nc e a n
co ed
l ay i
m on ot on ou s er
d i e ri n
bu s ub -
y t o l g y a n t he me s s ee :
ur al
146)
o rt h s ta t
a r a m n g t h m os t i m o rt an t e xa mp le s
strong Aramaean an
Phoenician
ar indebted to Hale Cambel (Oriens
influences
at
i tt it e a r d is -
Fo thei firs scientific publicatio
we
149; BelJeten 1948 pp 35- 36). W ith
11948, pp 14
an attractive interpretation Cambel distinguishe tw differen styles in th orthostats, which sh te me a n B ; s h a l i de nt if ie d m as te r c ra ft s e n a n t he i a pp re n i ce s It is worthh il e t o c on si de r i n e ta i t he s
k s u l o f h um o
h ic h a r
i t u t p a a ll e i n t h
r ie n
tal world
Th Orthostats in Aramaean Styl p o t io n o f t h s ty le . h es e a r t h of th
e as ti n
a ra te p e li ef s
in
o rt ho s a t
a s e xe cu te d b y
e pi ct in g m us ic ia n
z at i a ta s
Fi
1 67 )
an
ou
ea er
he
u si ci a
styl that we recognized in th Zincirli an Sakcegoz
or in
in th
o o t ha t a r n e f i u re s c o t in u
statuettes
from th
reig
a ma ea n to th
th
s ce n
r a a ea n
ofBarrekub.
cr c hi gn o F ig . 1 6
D et ai l o f t h e K in g A ra ra s r el ie fs . B as al t C ar ch em is h
7 1 - 6 9 B C M us eu m o f A na to li a
i nc ir l a n
S ak ce go z
e xa mp le s
h i i s o n o f t h c lu e t ha t e ve a t h e xa c d at e o f t h ee
Civilizations, Ankara.
Lat Hittit
as in th
works under Assyrian influence 248
e ec e
a r e nt s a ra te p
e l e ne s
er
i ns pi re d
o de l
s uc h a s t h
249
o rk s ex
It
he
a r a ls o i de nt ic al .
ne at
a ra te pe .
th
u si ca l i ns t u -
Th
Hattian an
Hittite
Th
Civilizations
F ig . 1 6
K in g A za ti wa ta s i n t h The k in g h o d s
F ig . 1 6
K in g A za ti wa ta s i s s er ve d w it h d ri nk , f oo d a n ofth La
ai
sc ne
i tt i
ty
m us ic . R el ie f f ro m K ar at ep e
L ef t s ec ti o
ro nd 70 n de r A ra ma ea n
ig t. Beor ta le is
nfue ce
Bo
h e t w v es s l s
t h h an d
of th
One
e ar s
oo
an
o nk ey . aJ
Hattia
l ea di n
atth
en
ofth
8t ce tu
Be Th ly
i n h e h an d
o ft h
e co n
ig re ro
he
or
p or ta n
Hittite
ehnd hi th
a r p eo p
h i l ef t h an d a n o fe rn g
o we r e g s te r t w f ig ur e
ni al ecio
hi
h ou ld er s
i s r en de re d i s c ar ve d
t h r ig h i n t h l ow e r eg is te r p as se d i nt o H eJ 1e n m us ic . 250
Civilizations
r ol e o f t h e m ai n s ce ne . K ar at ep e
( pe rh ap s a m e t b l l
The l ef t h al f o f t h main scen a pp ea r
an
251
im drnk
ea he
f o b re a
w it h h i
n d f an ni n
h im .
n de r t h
o n t h r ig h b ri n
a s h e o t e r l ea d i n t h o ut mo de d
t h P ho en i i a
e a f o t h k in g
l ar g o n
wi
e th er .
A ra ma ea n s ty le . I n c on tr as t
s t l e h a a pp ea r
o wa r
he
Th Hattia
an Hittit
Civilization
Th Hattia
Fig 169
an Hittit
Civilization
Sphinx statue from th gate ofKin Azatiwatas summer palace Karatepe Around 70
Be Fi
16
R el ie f o f c o i c a n
e st iv e c en es : i n t h u pp e
e gi st e
b i d s p ec ki n a t
th lowe register ma dancin with tw bears. Karatepe Around 70 Be Th entire relief is executed in style under Phoenicia influence. 252
ra bi in
Late Hittit Styl showin Aramaean an Phoenician influences Mean to protec th entrance to th palace this sphinx with it intimidating eyes carrie ou it function in believable way.The apro that covers th breast an legs of th Sphinx is teristic of Phoenician art 253
charac
e H
n a
e C
e H
Fig 171 Fig 170
standing woma nursin
he child. Karatepe Around 70 Be
Lat Hittit wor under Phoenicia influence 254
Bes,
n a
e C
comi symbol ofth Egyptians. Carrying
monkey on each shoulder he adds
liveliness to th king's summer palace Karatepe Around 700BC. This relief is carved in th Phoenician style. 255
Th
H at ti a
an
H it ti t
Th
C iv il iz at io n
Fig 175
H at ti a
an
H it ti t
C iv il iz at io n
Musica scenes Carchemish Basalt Height 112cm. 70 BC Museum of Anatolia Civilizations,Ankara. Late Hittit Period Traditiona Styl II In th relief at th to of th page ar tw pair offigures;in th firs pairone isplaying
string instrument an th othe
double flute.
In th second pair on figure play castanet as th othe dances
Fig 172
Banque scene. Karatepe. Th tw vessel in th hand of th cu bearer ar Phrygian containers m ade around 700BC. Thus on of th clue dating th Karatepe work isgive by th Phrygisn vessel in question.
Fig 173
Detail ofthe banque scene. Carchemish. en
Fig 17
Musical scene. Carchemish. Limestone Height 100cm.700 BC. Museum ofAnatolian Civilizations,Ankara.
Csrcbemish to around 700Be
In this relief ar shown, on th right, thre m e playin Fig. 174a-f
Phoenician models prefigurin th Hellen garments an thei folds. 8t centur Be 256
ma holdin anhom-shape
instrument tohis mout 257
drum whil on th left isa
with both hands.
The Hattia
and Hittit
Civilizations
The Hattia
Most ofthe Karatep orthostats especially the important scenes, were executed in the Phoenician style. Th main scen depictin th king show strong Phoenician influences ( Fi g 1 67 ) w hi l t h o rt ho st at s o f t h l es s i mp or ta n u si ci an s a n f oo d b ea re r s ho w Ararnaean influences (Fig 166) On the stones depictin origina and interestin subjects Phoenician characteristic are alway present. Essentiall th Aramaea artisan was as we said sculptor ofgreat force. Th sculptor wh show Phoenician characteristics, on th othe hand ha creative personalit an brough innovation to art. No le us consider th Phoenician elements that we se inthese reliefs: h e d at e p al m s hi p t h g o B e a n t h m on ke y i n t h K ar at ep e r el ie f a r t hi ng s unknow in Anatolia art; they came from southern Semiti regions. Th apro worn by sphinxe (Fig 169)is moti encountered in Syro-Phoenician work (A. Dessene, Le Sphinx, PI 38) Also th shoulders ofthe sphinx (Barnett, N i mr o I vo ri es , PI 1)are Phoenician characteristic Th garments ofthe genius figure an th form ofthe winged su symbol ar other evidenc ofthe Karatep reliefs connection wit Phoenicia. Th rathe elongated shap ofth conica ca worn by KingAzatiwata an othe figure is ofmor Phoenician than Aramaean origin Th vertical pleats that ru th full length ofthe nursin mother's garment (Fig 170) come from Phoenician examples (Akurgal, Th B ir t o f G r e k Art, p. 157,Fig. 109,110).The motifof mother nursin child ofadvanced years and th manner inwhich th chil hugs hi mother with on ar ar seen in Egyptian art. Bu th inspirationfor this moti must have come to th Karatepe sculptor from Phoenician work incorporatin Egyptian elements (E.Gjerstad, Opuscul Archaeologica, 4, 1946,PI.4; Muhlstein, D i K un s d e E tr us ke t Fig. 7, 8;Frankfort, MA 200,Fig.97). That King Azatiwatas dines whil listenin to musi is Phoenician fashion (Akurgal, T h B i t h o f G re e A r p. 150,Fig 104) Bu th most important element pointing to close ties with Phoenici is th us of th Phoenician language side by side with Hittit hieroglyph in the inscriptio ofthe Karatep reliefs. Th orthostat displayin th above-listedPhoenicia characteristic form group Th n os e o f a l l t h f ig ur e a r l ar ge r a n o r c ur ve d t ha n t ho s t ha t w e e e o n A ra ma ea n reliefs This characteristic probabl emphasize the factthat kin Azatiwatasandhis me are Phoenician.
an Hittit
Civilizations
presen in the musi scen ofthe traditional styl ofCarchemish whilethe long slender lyre is par ofthe Zincirl relief an the Tell Hala orthostats h e t ai l o f t h K ar at ep e s ph in xe s e n i n t h s ha p o f a w at e b ir d h ea d t hi s i s a ls o seen inexample from Carchemish an Zincirli Bu th flat brea an th meat pattie on th dinin table ar again Hittite elements Doubtless th most important ofthe Hittite component is th us ofhieroglyphi Luwian as on ofthe language ofthe bilingua inscription. On th Ivri relief, whic show important Aramaea influences there is only hiero glyphic inscription whil at Karatep the Phoenician version is also presen in bilingua text this indicate that here (i th Adan region less importance wa give to th native tradition. Th Karatepe relief ar ofcomical conten in an expressionis styl an trea of cheerfu a tt er s S ub je ct s l ik e t h o nk e u nd e K in g A za ti wa ta s t ab le , t h b ir d o f p re y p ec ki n a t r ab bi t t h b ea r d an c ( Fi g 1 68 ) t h w ea po n d an c a n t h t w m on ke y o n th shoulders ofthe figure ofBe (Fig 172)are al comical even burlesque scenes. They are praiseworth creation of Karatep sculptura art. Thes works, basically provincial art, are successfu products without paralle in the orienta world. Her we are befor creation full ofth joyousness and humo nativ to th peopl ofthe Mediterranean Th mothe nursin he chil whil standing expresse feelin ofmixe tenderness an humor. Itis on ofth earliest an most meaningfu example inhistor ofthe naiveart type Because Karatep was th site no ofKin Azatiwatas officialpalac bu ofhis summer home the depictions are in keepin withthi an ar fullofjoyand humor. Th Phoenician Styl in Southeastern Anatolia
Certain relief found inthe are ofMaras and Gaziantep are ofgreat importance, fo the ar no palace ar bu rather th products ofa rich middle clas ofwhic onlyrare examples ar foun in th orient funerary relief that came to ligh in Mara an whic is no displaye inthe Adan Museum is on ofthe most interestin an valuabl creation of easter a r ( Fi g 1 77 , 1 78 ) B ef or e u s i t m a a n w if e w ho s s a e xp re ss io n t el l u s t he y h av e passed tothe othe world.Eac ha pu hand upon th other' shoulder withobvious affection Asthe bunc ofgrapes inhis hand shows, th ma wa wine merchant an on concludes fro the ric jewelry ofhis wifethat he wa bi businessman
Y e t he s K ar at ep e r el ie f a r n o s o u c P ho en ic ia n o r a s t he y a r a t H it ti t creation displayin strong Phoenician influences Many of their element bear Assyria a ma e t ti t c h a ct e i c te l me t el th Phrygia cap comes fro Assyrian art (Barnett-Falkner, T ig la th pi le se r W . 22 PI 4, 10;PI. 25,26,41,42,50,51).
Th bangles onthe woman' ankles, he bel ofgol or silve wire and upon ita Phrygian pi strike th eye. On he head is polo decorate with disk ofgold. Bu he ornament do no end with these. Besides the many earring adorned from to to botto wit precious stones ther is also ring probably also ofgold in on nostril.
Th dagger ofth calf-beare isals presen onthe wais ofth go Zincirl (see: E. Akurgal, H at t v e H it i Uygerhkleii, PI 14).Again, th carrie th animal upon hi shoulder an th belt around hi wais ar H it ti t t ra di ti on a s ty l ( Fi g 1 10 ) T h d ou bl e f lu t t ha t w e s e i n
Th woman' garments ar ver interesting. He shawl covers onlythe uppe part ofthe en tu to he lt ro lo fashion late passed to Hellen art and fro ther to th ar ofthe Phrygian (E- Akurgal, K u n s A n a to l ie n s 95-100).
258
ofth lionbase from wa the calf-beare both elements ofth s i i la r s ce n i s a ls o
259
Th
F ig . 1 7
T o b st on e En
of
in
Hattia
e rc h n t
h e 8 th , b eg in n n g
ofth
an
an
Hittite
Civilizations
h i w if e
7 t c en tu r
a ra s
Fi
1 77 )
as lt
e ig h
1 00 c
d an a M u e u
Lat Hittit wor under Aramaean influence Before us sit
man and wife whos sa
expression indicate that they have passed to th othe world.Eac puts hand on the shoulder ofthe othe in cleargesture ofaffection.As is show by th bunc ofgrape thathe hold inhis righ hand th m a wa
wine m erchant Tojudg from th rich
ornament ofhis wife he wa
big businessman. The woman' ornament are striking. Sh ha rows ofgold ring on her legs, belt of silver or gold thread and, upon it; Phrygian pin. On he head is
polo decorate with gold disk an rosettes Bu th
ornaments do nut end witi: these. Inadditio to earrings th edge th woman' ears
ar decorate from to to bottom with valuableornaments Even in he nostri ther is seen
rin which must be ofgold In thi reliefHittite andAramaean characteristics are
in beautiful harmony. The custom of erecting
tombstone on
grave is Phoenician or (Donald
Harden, The Phoenicians, PI. 77) The hai and beard style areanAramaea variationof
Assyrian examples In contrast th fact that th wine merchant ha no mustache is Hittite tradition The polos recall the hea dresse ornamented wit gol coins tha are stil worn by Turkis peasan women. The belt made ofgol or silver thread is on of th Hittit elements of th Carchemish Traditiona Styl (Fig 1 0 6 1 0 7) . That th man is placed on th righ an th wom a on t h l ef t i s
old rule of Hittit protocol (Fig
5 3 7 2 ) However th clearl sorrowfu expression on ~e face of both ligure
re
c hi ev e e n
of th
s c l pt o
o f M a a ~ The w o a n' s
ar en
is th
i s a ls o v er y
interesting. He shaw covers only th uppe part of th body It tw ends ar tucked i nt o t h b el t o n f r a bo v and n e f ro m e lo w T hi s f as hi on , h ic h i s s ee n i n Maras,
F ig . 1 7 Adana Museum
Lat Hittit Style under Aramaean influence 260
anothe Hittit wor (Fig. 179), laterpasse the Phrygians (E. Akurgal, A ca de mi e d e I ns cr ip ti on s
to Hellen art an from ther tothe ar of
"Nsisssnce de l'ar grec figure archaiqu en Anatolie", e t B el le s- Le tt re s 1 99 3 pp. 2 5 - 2 7 3 > 261
Th Hattia
an Hittit
Th Hattia
Civilizations
an Hittit
Civilization
In thi reliefHittite and Aramaea characteristics are in beautifu harmony, Th custo e r c ti n t o b st o is en ci ea h a a c e r t ic . e co r i v in in th li ew e n c ia n o n ( Do n l d e n The Phoenicians, PI 77).The hai and beard style ar an Aramaea variation ofAssyrian exam ples In contrast th fact that th wine merchant ha no mustache is Hittit tradition. In an case almost al of th remainin iconographic detail ar of Hittit origin Th polo recall th headdresse ornamented with gold coin that ar stil worn byTurkish peasan wome oftoday.Th belt made ofgold or silverthrea isone ofth Hittit elements that we see in works ofthe Carchemish Traditiona Style T ha t t h a n i s p la ce d o n t h r ig h a n t h w om a o n t h l ef t i s a n o l r ul e o f H it ti t protocol Howeve th clearl sorrowfu expression on th face ofbot figure is grea achievemen ofthe sculptor of Maras, be he Hittite, Luwian or Aramaean This importan advance is doubtles ver great innovation that the Aramaeans brought to Late Hittite art ormore correctly to the art history ofthe world.Abovewe presented sphinx depictionwith terrifying expressio and some comic scenes. We firs encounter th depictio ofhuma feelings such asjoy an sorrow in thes work ofthe Aramaean period We shal late find experiment of simila kind only in creation ofHellene ar such as th "Sarcophagus of the Mournin Women" an in the naturalistic an realistic work ofthe Hellenistic Period. This exceptionall valuable work wa sculpted at th en ofthe 8t centur BCor possibly later. i s k no wn , s ty le s n o b el on gi n t o p al ac e a r l iv e f o r l on g t im e i n t h a r o f t h commo people; this isparticularl so in the case ofthei funerary monuments Another funerar stele found in Maras an now displaye in th Istanbu Archaeolog Museum is als wort mentioning. Th relie show wifeand daughter payin homage to t h f am il y' s d ea d f at he r ( Fi g 1 79 ) h e m an ' h ai rd o i s a n A ra ma ea n v ar ia ti o o f t h A s y ri a f as hi on . I n c on tr as t t h f ac t t ha t h e h a n o u st ac h i s H it ti t c us to m h e mother an daughter ar also dresse like th wome ofthe Traditiona Late Hittit Style. T ha t t h y ou n g ir l h ol d i n o n h an d i rr o a n i n t h e o th e p in dl e i s a ga i H it ti t t ra di ti o a n t he s o bj ec t a r t w i mp or ta n s ym bo l o f w o ma nh oo d a s w e l ea r f ro m Hittit writte sources. Othe elements particular to th Hittites are: th belt made ofgol o r i lv e s tr an d e e o n b ot h w o e n t h e a p at t i n t h a n' s r ig h h an d t h h ea f o f w he a i n h i s l ef t t h f la t b re a o n t h t ab l a n t h w a t h w o a n p ut s h e h an d u po n t h girl's shoulder s a t h s ce n o f e mb ra ci n o n t h s te l o f t h w in e e rc ha n a n h i w if e a n d i n relief from the Great Kingdom In thi reliefof familyofthree, besides th hai styleof th man, th vertical fold ofthe women' skirts an th facttha th youn girl ha tucked on end ofher mantl int he belt areAramaean fashions. That th work itselfis funerary stele is Phoenician or Aramaean characteristic This lovely exampl of funerary art, like th previou relieffro Maras is dated to aroun 700BC Sinc these were work ofpopula art they doubtles continue to be made even afte th Late Hittit principalities came unde Assyrian domination. 262
Fig 179
Tombstone. From Maras, Beginnin Museum. Th deadm an is seated on
of th
7t
centur
Be Istanbul Archaeolog
chair.His wife, seated on th chai opposite him, an hi
daughter, standing, pay their respects. Lat Hittit wor under Aramaean iniJuence 263
Th
Hattia
an
Hittite
Th
Civilizations
Hattia
an
Hittite
Civilizations
Afunerar relief foun at Mara an no on displa in th Louvre is ofspecial importanc (Fig 180).This isthe gravestone ofa chil wh isunderstoo tohav diedver young. T ha t t h e c a s as h il d i s x pr es s h e d ep ic ti o i m a s s t n di n hi mother's lap.The mother wh sits upon backless chair, hold he chil very affectionate lywith both hands. With he dress, mantle an belt sh is in th Traditiona Late Hittit Style.Th chil howeve show type ofhaird seen inthe rule ofSanheri (704-681 BC): onthe nape ofth neck ar curl ofvariou length in plac ofth chignon. Th same hair styl is seen on th head inthe Araras relief (Fig 157,158 161-164) This darlin chil ofhis mother isboth scribe an hunter Th kaJamos, or pen, that he hold inhis righ hand as ifwritin something, plus beside hi lefthand, th bo that woul contai papyru or parchment, ar proofs ofhis literacy perhap of hi bein scribe mos important craft. Th ha k" at ld is ef an sy bo n ti n is no th huntin ofbird wa pass-tim much favore by th nobles an rich ofthe orient In an case from th clothing ofth chil inthe relief an from th richness ofhi ornaments, it is clea that th bo wa rich aristocrat Hi chic sandals, hi robe with decorate collar an especially hi jewelr presen an extraordinar displa an reveal that he wa th chil ofa "nouveau riche" family people wh were "warprofiteers" or wh ha "mad pile". Beside th bracelet onhis wrists th ar ring onhis righ uppe ar an necklace hi ea ha an earrin as wellas bein whollyadorned with valuable jewelry, as wa th ea of th win merchant' wif (Fig. 178).
Fig 180
ombstone From Maras, Aseated woma withher so standing onher lap.Limestone
Th nd th ri hi ar an r is t r e i n t h f or m o f l i e ad s il necklace ends induc heads. Allthes ar doubtles ofgold Incontrast, th ring an othe ornament on hi ea ar ofpreciou stones Although th nose ofbot mother an so r es e b l os ha a v s ee n o n m i i c t y e s t h r it i u s th re ie is no Aramai but Luwianhieroglyphs; these state tha the child' nam wasW-pia,inother words Tarhunpia (Laroche, Hieroglyphes Hittites 287 W-pia, 66, 119 Le Noms Hittites Paris 1966,p. 178No. 1277).
Height 55cm Beginnin ofthe 7t centur Be Louvre Museum Paris. L at e i tt it e w or k u n e r r a a e i nf l e nc e we se fr th i er o l y h i inscription, thi tombstone belong toa boyname Tarhunpias. Tha he is placed onhis mother's la an that ther is apai ofknucklebones unde hi left ar
reveals that he
diedyoung. Sinc he is show witha pe an apapyru box,he wasliterate.As th so ofa rich fam ily he like tohunt birds. That he wa th offsprin ofver rich parent is sufficiently indicate
by th ornam ent
he wears, whic
m ust have been of gold or
silver Tarhunpias like th modern males of ou ow day, must have enjoyed wearin jewelry. Or itmay be that th nobl elde member fo hi
ofhis family considered itnecessary
tobe sodressed His bracelet ar decorate with lionheads an th ring on his
righ ar ornament
Th date ofthi lovelywork together withthe date ofthe Mara funerary steles that we considered previously isgiven bythe styl ofth hair on th nape ofTarhunpias neck That ther ar curl ofvariou length rather than chigno isa fashio seen inthe reig ofth Assyrian king Sanherib (704- 68 Be). Although th Late Hittit principalities came unde Assyrian rule around 70 Be this di no preven them from continuing thei own style. Though they migh give importance to followin th Assyrian fashion, as is seen in th hairdos, they ma also have considered it national duty to keep aliv thei traditiona art. Weare ofthe opinio that this kind ofgravestone continue throughout th 7t centur Be Fo th funerary stones ofArchai Gree art, whic begi at th en ofthe 7t centur Be
with duck heads. With hi necklace hi earrings an particularly with th that decorate th edge of hi ea from to to bottom Tarhunpias rivals or
origins.
even surpasses, th wife of th wine merchant in Fig. 147.
264
265
n a
n a
Th Scale-Maker of Mara
ed
epes
as
th othe relief from Maras t hi s o r a s p ro du ce d a t t h e gi n i n o f t h 7 t c e t u BC P ro fe ss i n a t o l s u c a s s ca le s p e s , a n a p r u r ol l a r o f i m o rt an ce , f o i t i s t ha n t o t he s
t ha t t h Maras s te le s d o n o e pi c o d - a s s om e s ch ol ar s s uc h a s w i e rc ha nt s c ri be s a n g ro ce rs .
t ha t i t b ec o e s d e i ni t
av
o po se d - b u
a th e
r o e ss io na l p e p l
Nor ar they votive items; they ar certainl The Kebe hi
y be l
tombstones
Rock Relief at Silifk i g r e ( F g . 1 23 ) c a v e
om
ck ac at
e be n i n t h
er
e gi o
Siif e,
er
Kunst Anatoliens, F i
w hi l l ea vi n
1 60 , 6 1 2 2
2 25 ) a n f r
t h f ro n o ft h
od
t o P hr yg ia n art.
t he r
u nc ov e e d
F ig .
77 18
as
a sh i
f fe mi ni n
ea
at m us t
av
t ha t t hi s
ee rk
ad
a ft e 7 5
e lo ng s t o t h
C.
oi
a t H it ti t
a c t h a l o nd -s ha pe d
e ye s p ro v
e fi ni te l
e ri od . ea
p ol o similar h a o f th Kcbe R el ie f t h f em al e f ig ur e s ee n a t Yazihkaya ot ea a nt le s T h t ra il in g m a t l o f t h i g r e b e a t e be n i s s ee n
e ac h h a F ig . 2 b
in work
(Fig 174c f)
ea in
P h e ni ci a
i n l ue nc e a n m ad e i n t h p e i o
70 BC
Late Hittite Architecture er e ac he d
hi
l ev e
Z i c ir li , S a c eg oz u
it F ig .
er th
c ol u n s
4 8) ,
el
ae
b as e a la f
an
al
en
ce
c ap it al s t ha t i t d e e lo pe d a t C a c he mi sh ,
F ig . 1 51 ) a n
el
a in at . It
Birt of Greek Art, p p ty Tombstone. Maras, Limestone Height 55cm. Beginning ofthe 7th centur Be. Louvr Museum Paris. Late H ittit work unde Aramaean influence. m a with pair of scales Th youn m a hold tw sets ofscales thatin hi righ hand isope an th se inhi othe hand is folded. He ma have been
th sa
pe io
s t u ct u e , a n a nc ie n c re at io n o f t h
Assyrians Fig 181
-99
at
r ri an s
an
h e Birt of Gree Art (Germa Architektur Kleinasiens, Madra, Eski Anadolu MimarJIg'l,A nkara TT 1975 S ee :
om th
t h Bit Hilani t an dp o n t i nf l e nc e t h e ve l p e
(Ibid. pp.71-75). k re m
k u g al ,
79-99; Rudolf Naumann,
scal merchant 266
i tt it e a rc hi te ct u
267
title: Orient und Okzident
pp.
Th
Late
Hattia
an
Hittite
Art upon Hellen
Hittite
Th
Civilizations
Art
Depictions he
ey
am
er
Hattian an
Hittite
Civilizations
of Griffins
e ll e e s a d p te d a l t h i c n og ra p i c
e ta il s o f t h
i tt it e b i
fa
Hittite principalities.
6)
bud-shaped en
elen
ofvas knowledg
terminatio
of subjects concerne
with health
agricultur
an
astronomy.
On griffins see: E. Akurgal, "Zur Enstehun Festschrif
fiir Erik
Akurgal, Anadol m y h ol og y
F o e xa m l e
h al f
th ce tu
th
ofthe bird feather.
It
a r It wa also possesse
a n o f S ak ce g z u
fan
en
i tt it e l eg e d s
ur ia
B C S uc h l eg e d s a s " Th e
o ri gi n
a ss e
in do
to th
ofth Sk
e ll e e s i n t h
(Theogonia)
an
Simon, p p
Uygerhklzn,
2.Th
de griechischen
e ll en e
t oo k
Greifenbildes'
t he r a n a st i
c re at u e s
Kotinos: s uc h a s
Fig 161 165,238).
ir "The
H ea dd re s
y pe s
(Typhon) changes.
ce
To ar
75 BC th
et oo in th a rt wo r
ro
e ll en e
r ie n a n m e c lo s
q ua rt e
f ou nd e
h e L at e an
c ol on y a t A l
i tt it e
i na , s o t h o f A t ak ya .
i nc ip al it ie s
i n i t n at i
b ec o i n
a c u ai nt e
he
th
wi
e ll e
d e i ct io n
o f w om e
in th
th an
er
7t ce tu ie
a r o f H it ti t
o ri g n .
h ei r
l an d
Helmet
av
he as
Type
a ri ou s t yp e o f h el me t
ofAssyrian
Hittit
an
s ee n o n H el le n
a rr i r s
er
ma
u nd e
t h i ns pi ra ti o
Urartian models
at es
er
M il et os , p he s s , large numbers.
r yt h a i a n
l d z mi r
a,
rk
o f H it ti t
an
am
o ri en ta l
r i i n a r p re se n
Hairstyl
Type
in ar either with th Egyptian -Phoenicia
en ed ir
i tt it e i n l ue nc e
st ct
af
ei ar
in pa
e gi n t o b e s ee n i n C or i t hi a
a n l es s e x t i
th tast ofthe Hellenes i re n a n P e a s er
i n a p e a a nc e
i tt it e p ot te r
Th
a i s ty le .
hi
t ra ns fe rr e
a ir d
to th
type wi or with th Assyrianized
c on si st in g o f l o
c ur le d l oc k p a s e
an Aramaicize
nt
Late
r a t ia n a r a n
as
e ll e e s b y t hi s r ou te .
i tt it e i g r es , t ec to ni c i n
t ha n E gy pt ia n a n P h e ni ci a
r ks ,
er
In particular figure such as lions, griffins sphinxes i mi ta te d e ta i f o d et ai l
m or e t o
ar en
F ol d
th Chimera, c en tu r
BC an
h ic h
e ca m
th
g re a
as io
in th
6 t o ri gi na te d
it
r ea t p ro ba bi li -
Lion Figure
am ch
Th St le
C or i t hi a i tt it e l i
co ie i gu re s
t uc k t o t h l o e r j a t he s
d et ai l
th
it ou
an
c ha ng e t h
1 ) t h t ec to ni c s t u ct ur e C o i nt hi a
s s i a i ze d
as at
a i t er s H it ti t
f ol lo wi n
e le me nt s
of th
l at e
l io ns : 1 ) t h
e ri o
co ie
a tu ra li st i
it ou ea
th
Kunst
T ra di ti on a
t h c u i c h ea d 3 ) t h e h ea rt - h ap e
e ar ;
Anatoliens,
a n c ha ng e
21
Plasti
loniens,
Bonn 1978).
Belts l l t h e e t yp e
UygarlIklan, Fig 208-218).
Ozgan, Archaische
a lm et te s gin.
Anadol
243) Ramaza
e lt s u se d b y t h
e ll en e
inth
th ce tu
B C a r o f L at e
i tt it e o ri -
