What Technique Was Used To Create Assurbanipal And His Queen In The Garden

Assurbanipal and His Queen in the Garden is an example of Assyrian art from the Ancient Near East. This panel depicts many people eagerly serving and surrounding an apparent affluent couple in a garden. The impression gained from Assurbanipal and His Queen in the Garden is that of a majestic, relaxing hero.

This alabaster panel is a light brown hue of low saturation with the carvings in a peaceful low relief carving that does not jump out at the viewer. The blocks like figures in the panel draw the viewer's attention towards their focal point of the two figures at the right side of the image and the majestic presence. The lines of the vines that seem to wrap around the king and queen bring them more into focus.

The composition of the figures themselves does not overtake the entire panel, allowing the viewer to see the garden in the background giving the carved panel a sense of relaxation, rest and tranquility. Relaxation can be seen throughout this work of art. A figure on the far left side is playing a harp while the other servants are bringing food and drink to the majestic couple. At least four of the servants seem to be fanning the two dominant figures as they eat and drink. The servants themselves seem to be walking towards the royal couple as their feet are placed one in front of the other. The garden has a serene presence. The trees fan out in glorious fashion with lines covering the palms.

All of the figures, except the king, are carved in profile, which is quite common for this era and type of artistry. The king is the only one in the carving that is not totally in profile form. He is twisting the top portion of his body toward the viewer, displaying his majestic presence in the carving. The king is off his feet; partially laying on a couch or bed with a drink in hand and his left arm resting on a railing, while his queen looks on in admiration. The queen is in a tall, majestic chair. Just out of view on the panel is another person on the far left side of the carving. All that is visible are two hands reaching toward the harpist. The hands do not appear to be those of servants because they are not carrying anything. Perhaps they are the hands of the king's people trying to reach toward him in honor of his heroic stature. They are trying to get a glimpse at the king to show their affection.

The asymmetrical image once again pulls the audience to the king and queen displaying the regal features of the panel. The disproportionality of the carving suggests the majestic feelings toward the king and queen who seem larger than the servants. They are also placed higher in the image suggesting their overall importance. The lines in the king's beard along with the texture imply a strong, imperial presence. All of the figures, including the king and queen, seem to have exactly the same style hair. The hair appears to be braided with the major emphasis on the back part of the hair around the neck. There are four rows of braids on the back portion around the neck. The figures also have a type of headband around their heads.

The panel carving of Assurbanipal also shows his triumph and heroic existence. Behind the king on a table sits his sword, bow and arrows that he has put down after battle to relax. And for his battle trophy he has the head of an apparent enemy hanging in the second tree from the right. This signifies his overall heroic nature and majestic standing among his people. Although the head seems a bit too much, it is a warning to others who may want to bring war to him and his people.

The form of space in the panel carving is amazing. Although carved in low relief, the overlapping of the figures and objects in the foreground have a three-dimensional effect on the panel. This three-dimensional effect is highlighted even more with the overlapping of different elements by the king. There is some kind of table in front of the king, in the foreground. Behind this lays the king, in his relaxing pose with only his bed or couch having been covered by the table, as not to cover the majestic hero. The king then covers part of the vines that are surrounding the couple.

This carving signifies a majestic hero in many ways. His regal stature is communicated by his disproportionate body and the elevated height in the panel. You only have to see the head of the enemy hanging in the tree and his used weapons behind him to appreciate his heroic efforts.