This image is intended for classroom use only and may not be reproduced for other reasons without the permission of the Denver Art Museum. This piece may not currently be on display at the museum.
This stone carving comes from the palace of King Ashurnasirpal II, who ruled over the kingdom of Assyria in today’s Iraq. The creation of a sculptured palace generally happened only once during a king’s reign, if at all. The king took close interest in the palace and had some indirect role in choosing the subjects of the decorations. However, the general design was placed in the hands of a committee of senior officials. Within this committee, at least one official was experienced in magic, and he made sure that the magical figures on the walls (like this bird-headed deity) were placed for maximum protection. First, the stone panels were installed into the brick palace walls, and then a team of carvers would work on creating the low-relief sculpture. One person would draw or incise the main outline of the image, and the final cutting and polishing would be done by an army of artisans. Because the carvings were influenced by wall paintings, they were often painted as well.
What Inspired It?
Magicians placed protective deities throughout the king’s palace, wherever they were thought to be most effective. Bird-headed deities often stood at doorways, protecting the palace from evil spirits. Magic was an essential part of religion and daily life in ancient Assyria and was used in everything from medicine to architecture. Kings served as high priests and had ceremonial responsibilities. Icons throughout the castle, including relief carvings like this one, affirmed Ashurnasirpal’s authority as high priest and King of Assyria. Many carvings in Ashurnasirpal’s palace also tell of the importance of war during his reign.
Things to Look For
Cloak
Elaborate tassels are attached to the patterned edge of the figure’s cloak. A cloak with tassels was standard wear for kings during this time, but not for ordinary humans.
Low Relief
The sculpture is carved in low relief, also called bas relief, meaning that the carving projects very little from the background.
Arm Muscles
Heavy muscles are a convention of Assyrian carving and are seen throughout the palace.
Grain of Stone
The stone has a very distinctive, curvy pattern. When stones were cut from the quarry, consecutive sections went to a given room. By paying attention to the grain of the stone, we are able to identify which carvings came from the same room.
Half Man, Half Bird
The deity is a magical combination of eagle and man, with the head, feathers, and beak of an eagle, and the muscle and flesh of a man. These qualities are integrated to make a convincing and powerful creature.
Right Hand
The deity holds what looks like either a pinecone or the flower of a date palm in his right hand. Because date palms require cross-fertilization by hand, a suggestion has been made that perhaps the deity is fertilizing a sacred tree. The sacred tree, not seen here, is a common motif in Assyrian art. It is identified by ornamental leaves and curling tendrils. It symbolizes vegetal health and fertility, and is usually attended by human-headed or bird-headed deities. In other places, the pinecone is held up over people or doorways that need magical protection. Although scholars are not positive about what is happening here, it does seem to be an important ritual gesture.
Each lesson plan includes high-quality image and information about the art.
Early Childhood (ages 3–5)
Visual Arts
Students will use visual observation skills to carefully examine the Assyrian Bird-Headed Deity limestone relief and explore the movement, sounds, and traits of different animals. They will first explore these aspects in humans and birds of prey, as seen in the limestone relief, and will then do the same with “animals” they create from two or more animals. This lesson enables children to draw upon previous knowledge and imagination in order to act out the movement, sounds, and other traits of the animals they create.
Students will learn about the Assyrian Bird-Headed Deity and its purpose. They will then read comic book stories about combined animal and human superheroes and identify the key pieces of each story. Combining these two elements, students will then create their own human and animal superheroes and write a story or create a comic about their hero.
Students will learn about the Assyrian Bird-Headed Deity stone relief and the palace from which it comes. They will then work in groups to examine how the stone relief shows us that over the course of human history, some things change and others remain the same.
Students will compare the Assyrian Bird-Headed Deity limestone relief to comic book superheroes and talk about common themes and important differences. Attention to the three-dimensional detail in the relief, as compared to the two-dimensional images of cartoon art, helps them learn about different visual elements artists use to convey certain feelings and concepts. They will then create a superhero of their own.
Students will use the Assyrian Bird-Headed Deity limestone relief to talk about what they value and what is valued in their culture in general. Their emphasis on material possessions, most usually identified by students first, will set the backdrop for a discussion about the importance of food production and supply and why it doesn’t usually come to mind first in a list of what’s valued. Students will then research and write a creative or factual piece comparing the Assyrian Bird-Headed Deity with modern methods of ensuring food production for continued livelihood. They could research issues in their own community or in the region where Assyria used to be located.
Explore the different textures and patterns found in the sculpture.Point out the different types of lines (e.g. zig-zag, curvy, circular) and have students experiment with tools to make their own lines in clay.
The Assyrian Bird-Headed Deity is a small piece of what was originally part of an elaborate palace. We believe that the deity is making an offering to a sacred tree. Have your students study different types of trees and select one to complete the picture, then use their imagination to write about what makes this tree sacred.
Create a classroom guardian figure and a classroom greeter. What kind of animal would make a good guard? Which kind of animal would be friendly and welcoming? What characteristics would each animal have? Would they carry anything with them? Draw an image of your guardian or greeter.
Find Out More
Gods, Heroes and Kings-Ashurnasirpal II (Royal Cast Collection)
From the Royal Cast Collection in Copenhagen, Denmark, this video provides a good explanation of the relief carving technique, as used in the Palace of Ashurnasirpal II.
A website for kids that focuses on Assyrian history.
Books
Oates, Joan and David. Nimrud, An Assyrian Imperial City Revealed. London: The British School of Archaeology in Iraq, 2001.
An informative book about the palaces and other structures that were uncovered from this ancient society, including many pictures and diagrams of the buildings, as well as other illustrations of Assyrian life.
Parrot, Andre. The Arts of Assyria. New York: Golden Press, 1961.
A compilation of the Assyrian Arts, including some of the empire’s history and many photographic examples of work.
Children's Books
Baker, Rosalie F., and Charles F. Baker. Calliope Exploring World History: The Assyrians (Vol. 15, No.1). Peru, IL: Cobblestone Publishing, 2004.
This issue on the Assyrians from the Calliope Exploring World History series includes short articles about many aspects of the Assyrians, with extensive illustrations and photographs.
