Editing Assyria (section)

=== Art ===
{{Main|Art of Mesopotamia}}
[[File:Ancient Egyptian, Assyrian, and Persian costumes and decorations (1920) (14741970056).jpg|thumb|A 20th-century illustration of decorative patterns found in ancient Assyrian reliefs and garments]]
A relatively large number of statues and figurines have been recovered from the ruins of temples in Assur dating to the Early Assyrian period. Most of the surviving artwork from this time was clearly influenced by the artwork of foreign powers. For instance, a set of 87 [[alabaster]] figures of male and female worshippers from Assur before the rise of the Akkadian Empire greatly resembles [[Early Dynastic Period (Mesopotamia)|Early Dynastic]] Sumerian figures.{{Sfn|Mallowan|1971|p=|pp=299–300}}{{Sfn|Russell|2017b|p=453}} Because of variation in artwork elsewhere, the artwork of early Assur was also highly variable depending on the time period, ranging from highly stylized to highly naturalistic.{{Sfn|Russell|2017b|p=454}}

Among the most unique finds from the Early period is the head of a woman of which her eyes, eyebrows, and elaborate hair covering were originally [[Inlay|inlaid]]. This head is typical of the art style of the Akkadian period, with an overall naturalistic style, smooth and soft curves and a full mouth.{{Sfn|Mallowan|1971|p=|pp=299–300}}{{Sfn|Russell|2017b|p=455}} Another unique art piece from the early period is an [[ivory]] figurine of a nude woman, and fragments of at least five additional similar figurines. The ivory used might have come from [[Indian elephant]]s, which would indicate trade between early Assur and the early tribes and states of Iran.{{Sfn|Mallowan|1971|p=|pp=299–300}} Among other artwork known from the early period are a handful of large stone statues of rulers (governors and foreign kings),{{Sfn|Russell|2017b|p=455}} figures of animals, and stone statues of naked women.{{Sfn|Düring|2020|p=32}}

The artwork known from the Old Assyrian period, other than a few objects such as a partial stone statue perhaps depicting Erishum I, is largely limited to seals and impressions of seals on cuneiform documents.{{Sfn|Russell|2017b|p=458}} Royal seals from the Puzur-Ashur dynasty of kings, prior to the rise of Shamshi-Adad I, are very similar to the seals of the kings of the Third Dynasty of Ur.{{sfn|Eppihimer|2013|p=37}} In the Middle Assyrian period, from Ashur-uballit I onward, seals looked quite different and appear to emphasize royal power, rather than the theological and cosmic sources of the king's right to rule. Among non-royal seals of the Middle Assyrian period a wide assortment of different motifs are known, including both religious scenes and peaceful scenes of animals and trees. From the time of Tukulti-Ninurta I onward, seals also sometimes featured contests and struggles between humans, various animals, and mythological creatures.{{Sfn|Russell|2017b|pp=463–465}}

Several other new artistic innovations were also made in the Middle Assyrian period. In the temple dedicated to [[Ishtar]] in Assur, four cult pedestals (or "altars") from the time of Tukulti-Ninurta I have been discovered. These altars were decorated with various motifs, common inclusions being the king (sometimes multiple times) and protective divine figures and standards. One of the pedestals preserves along the lower step of its base a relief image which is the earliest known narrative image in Assyrian art history. This relief, which is not very well-preserved, appears to depict rows of prisoners before the Assyrian king.{{Sfn|Russell|2017b|pp=465–469}}

The earliest known Assyrian wall paintings are also from the time of Tukulti-Ninurta I, from his palace in Kar-Tukulti-Ninurta. Motifs included plant-based patterns (rosettes and palmettes), trees and bird-headed genies. The colors used to paint the walls included black, red, blue, and white. An unusual limestone statue of a nude woman is known from Nineveh from the time of  [[Ashur-bel-kala]] ({{reign}}1074–1056&nbsp;BC). An entirely new type of monument introduced in the 11th century BC were [[obelisk]]s; four-sided stone stelae decorated all around with both images and text. Obelisks saw continued use until at least the 9th century BC.{{Sfn|Russell|2017b|pp=465–469}}

Compared to other periods, a larger amount of artwork survives from the Neo-Assyrian period, particularly monumental art made under the patronage of the kings. The most well-known form of Neo-Assyrian monumental art are wall reliefs, carved stone artwork that lined the internal and external walls of temples and palaces. Another well-known form of Neo-Assyrian art are colossi, often human-headed lions or bulls (''[[lamassu]]''), that were placed at the gates of temples, palaces and cities. The earliest known examples of both wall reliefs and colossi are from the reign of Ashurnasirpal II, who might have been inspired by the Hittite monumental art that he saw on his campaigns to the Mediterranean.{{Sfn|Russell|2017b|pp=471–472}}

Wall paintings such as those made under Tukulti-Ninurta I in the Middle Assyrian period also continued to be used, sometimes to supplement wall reliefs and sometimes instead of them. Interior walls could be decorated by covering the mudbrick used in construction with painted mud plaster and exterior walls were at times decorated with glazed and painted tiles or bricks.{{Sfn|Russell|2017b|pp=471–472}} The most extensive known surviving sets of wall reliefs are from the reign of Sennacherib.{{Sfn|Russell|2017b|p=487}} In terms of Neo-Assyrian artwork, modern scholars have paid particular attention to the reliefs produced under Ashurbanipal, which have been described as possessing a distinct "epic quality" unlike the art under his predecessors.{{Sfn|Encyclopaedia Britannica|p=}}

<gallery widths="170" heights="170">
File:Statue of a praying woman from the Archaic Ishtar Temple of Assur, Iraq. 2400 BCE. Pergamon Museum.jpg|A statue of a praying woman, 25th century BC
File:Cult wall relief from Assur. A deity, probably god Assur, is flanked by 2 water deities and 2 goats. 2000-1500 BCE. Pergamon Museum, Berlin.jpg|A wall relief probably depicting [[Ashur (god)|Ashur]], 21st–16th century BC
File:Middle Assyrian winged horse cylinder seal.png|A cylinder seal and impression, 14th–13th century BC
File:Temple altar offered by Tukulti-Ninurta I. 1243-1207 BCE. From Assur, Iraq. Ancient Orient Museum, Istanbul.jpg|Temple altar of [[Tukulti-Ninurta I]], 13th century BC
File:The only known Assyrian statue of a naked woman, erected at the temple of Ishtar in Nineveh, during the reign of Ashur-bel-kala, 1073-1056 BCE. Currently housed in the British Museum, London.jpg|A statue of a nude woman, 11th century BC
File:2018 Ashurbanipal - Tile.jpg|A glazed tile depicting a king and attendants, 9th century BC
File:The Black Obelisk of Shalmaneser III, 9th century BC, from Nimrud, Iraq. The British Museum.jpg|The [[Black Obelisk of Shalmaneser III]], 9th century BC
File:Shalmaneser III statue from Nimrud, Iraq. 9th century BCE. Iraq Museum in Baghdad.jpg|A statue of [[Shalmaneser III]], 9th century BC
File:Openwork furniture plaque with a grazing oryx in a forest of fronds MET DP110622.jpg|Furniture ornament, 9th–8th century BC
File:Neo-Assyrian, Nimrud, Queens’ Tombs, Tomb III, Golden Crown.png|A crown of Queen [[Hama (queen)|Hama]], 8th century BC
File:LammasuChicago.jpg|A giant ''[[lamassu]]'', 8th century BC
File:Exhibition I am Ashurbanipal king of the world, king of Assyria, British Museum (45972455081).jpg|A portion of the [[Lion Hunt of Ashurbanipal]], 7th century BC
File:Head of a male figure Assyrian ca. 8th–7th century BCE.jpg|The ivory tusks that provided the raw material for these objects were almost certainly from African elephants, imported from lands south of Egypt, although elephants inhabited several river valleys in Syria until they were hunted to extinction by the end of the eighth century B.C. [[Metropolitan Museum of Art]]
</gallery>