THE ANCIENT NEAR EAST
STANDARD OF UR Agriculture and trade brought considerable wealth to some of the city-states of ancient Sumer. Nowhere is this clearer than in the so-called Royal Cemetery at Ur, the city that was home to the biblical Abraham. In the third millennium BCE, the leading families of Ur buried their dead in chambers beneath the earth. Scholars still debate whether these deceased were true kings and queens or simply aristocrats and priests, but the Sumerians laid them to rest in regal fashion. Archaeologists exploring the Ur cemetery uncovered gold helmets and daggers with handles of lapis lazuli (a rich azure-blue stone imported from Afghanistan), golden beakers and bowls, jewelry of gold and lapis, musical instruments, chariots, and other luxurious items. Dozens of bodies were also found in the richest tombs. A retinue of musicians, servants, charioteers, and soldiers was sacrificed in order to accompany the “kings and queens” into the afterlife. (Comparable rituals are documented in other societies, for example, in ancient America.) Not the costliest object found in the “royal” graves, but probably the most significant from the viewpoint of the history of art, is the socalled Standard of Ur (FIGS. 2-8 and 2-9). This rectangular box of uncertain function has sloping sides inlaid with shell, lapis lazuli, and red limestone. The excavator, Leonard Woolley, thought the object was originally mounted on a pole, and he considered it a kind of military standard—hence its nickname. Art historians usually refer to the two long sides of the box as the “war side”and “peace side,”but the two sides may represent the first and second parts of a single narrative. The artist divided each into three horizontal bands. The narrative reads from left to right and bottom to top. On the war side (FIG. 2-8), four ass-drawn four-wheeled war chariots mow down enemies, whose bodies appear on the ground in front of and beneath the animals. The gait of the asses accelerates along the band from left to right. Above, foot soldiers gather up and lead away captured foes. In the uppermost register, soldiers present bound captives (who have been stripped naked to degrade them) to a kinglike figure, who has stepped out of his chariot. His central place in the composition and his greater stature (his head breaks through the border at the top) set him apart from all the other figures.In the lowest band on the peace side (FIG. 2-9), men carry provisions, possibly war booty, on their backs. Above, attendants bring animals, perhaps also spoils of war, and fish for the great banquet depicted in the uppermost register. There, seated dignitaries and a larger-than-life “king” (third from the left) feast, while a lyre player and singer entertain the group. Art historians have interpreted the scene both as a victory celebration and as a banquet in connection with cult ritual. The two are not necessarily incompatible. The absence of an inscription prevents connecting the scenes with a specific event or person, but the Standard of Ur undoubtedly is another early example of historical narrative.
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