CHAPTER 2—MESOPOTAMIA AND PERSIA
MULTIPLE CHOICE
1. The Ziggurat at Ur can best be described as a:
a.
Sumerian burial ground
b.
fortified city-state
c.
palace for Naram-Sin
d.
Sumerian temple base
2. Ishtar Gate, with its relief decorations of a dragon, lion and bull, comes from the city of:
a.
Lagash
b.
Persepolis
c.
Ur
d.
Babylon
3. Bull-headed capitals would most likely be found in
a.
Lascaux
b.
Jericho
c.
Persia
d.
Israel
4. The new concept of godlike sovereignty can be described by the representations of ____, the king who
appeared as a god in Mesopotamian Akkadian art.
a.
Urnanshe
b.
Naram-Sin
c.
Eannatum
d.
Gilgamesh
5. In his pursuit of beautifying the city of Bayblon, Nebuchadnezzar II built the ____ as one of the main
entrances to the city.
a.
White Temple
b.
Ziggurat at Ur
c.
Palace of Darius
d.
Ishtar Gate
6. The stylistic conventions of rigidly frontal symmetry, abnormally large eyes, and tightly clasped hands
are most characteristic of the early art of ____.
a.
Jericho
b.
Çatal Höyük
c.
Sumer
d.
Babylon
7. The White Temple, Uruk is oriented to the ____.
a.
Orion constellation
b.
Cardinal points of the compass
c.
Persian Gulf
d.
North
8. A predominant theme or themes found in the narrative reliefs of the Assyrians was or were:
a.
the sun disk, Aton
b.
war and hunting
c.
scenes of the afterlife
d.
animal fables
9. Persian relief figure sculpture can be distinguished from earlier Mesopotamian styles by:
a.
the bulging muscles
b.
use of extremely large eyes
c.
a preference for nudity
d.
forms are more rounded
10. The Two Statuettes of Worshippers, created by the Sumerians, were ____.
a.
Placed in tombs to entertain the deceased in the afterlife
b.
placed in temples in thanksgiving to the deities
c.
guardians of the Citadel of Sargon II
d.
used as a form of currency
11. In ancient Mesopotamia the hierarchy of scale was a convention, which indicated:
a.
order of importance
b.
order of the gods
c.
the first families
d.
the power of money
12. The open-eyed stares of the votive statues of ancient Sumer are thought to represent:
a.
portraits of specific people
b.
eternal wakefulness and duty
c.
vigilance against demons
d.
the priestly class
13. The Mesopotamian king who codified the law and prescribed penalties for infractions was ____.
a.
Urnanshe
b.
Innana
c.
Naram-Sin
d.
Hammurabi
14. ____ was the ensi of Lagash who erected and restored numerous temples in honor of the gods and is
shown seated with a temple plan in his lap.
a.
Assurnasirpal
b.
Imhotep
c.
Senmut
d.
Gudea
15. The rock-cut relief at Bishapur depicts:
a.
the Sun-god Innana
b.
the coronation of Shapur II
c.
a dying lioness
d.
triumph of Shapur I over Valerian
16. Historical narrative relief can be found at the Assyrian palace of ____ at Nimrud.
a.
Gudea
b.
Sargon IV
c.
Marduk I
d.
Ashurnasirpal II
17. Alexander the Great razed Persepolis in 330 BCE. What prior event suggests that this was an act of
revenge?
a.
destruction of Assyrian city of Nimrud
b.
birth of the Sasanian dynasty
c.
Persian sack of the Athenian Acropolis
d.
Persian sack of Sparta
18. What epic poem recounts the exploits of a legendary king of Uruk and slayer of the monster Huwawa?
a.
Iliad and Odyssey
b.
Epic of Gilgamesh
c.
Epic of Nimrud
d.
Tale of Homer
19. The Victory stele of Eannatum (Stele of the Vultures) is an extraordinary monument because it
provides information about warfare techniques and insight into the special nature of the ruler. Which
statement provides the most valid justification for this assertion?
a.
these descriptions are found in the Epic of Gilgamesh
b.
excavated tablets with these descriptions are found in Nimrud
c.
words and pictures are combined
d.
the inclusion of vultures, which are special avatars of the ruler
20. The statement, “measuring rods and coiled rope,” which connotes the ruler’s capacity to build social
order and render judgments, is best depicted on the ____.
a.
Stele of Hammurabi
b.
Standard of Ur
c.
Victory Stele of Naram-Sin
d.
Victory stele of Eannatum (Stele of the Vultures)
21. One of the suggested purposes of Assyrian narrative relief is to:
a.
show the horror of war
b.
show the joy of the hunt
c.
glorify the gods
d.
glorify the king
22. In Assyrian relief, such as Assyrian archers pursuing enemies, the artists combine different viewpoints
in the same frame and other adjustments for clarity. Which of the following phrases best describes the
artists’ primary goal?
a.
artistic license
b.
legible retelling of a decisive moment in king’s deeds
c.
following technical codes as established by the Sasanians
d.
following technical codes as established by the Elamites
23. The Elamite statue of Queen Napir-Asu shows its Mesopotamian heritage. Which phrase supports this
assertion?
a.
square volume and strict frontality
b.
strict true profile and slim silhouette
c.
cylindrical volume and strict frontality
d.
optical profile and full silhouette
24. The Elamite statue of Queen Napir-Asu represents the ideal queen; in addition there is an allusion to
fertility, as it relates to being queen. Which motif supports this allusion?
a.
hands crossed over the belly
b.
upright posture
c.
patterned gown
d.
inscription on queen’s skirt
25. The Sumerians may have been the first to use pictures to tell coherent stories. What argument makes
this a valid assertion?
a.
narrative presented with haphazard figures
b.
narrative presented in registers or bands
c.
narrative presented in squares or boxes
d.
narrative presented with same-size figures
26. Which of the following works of art was created first?
a.
Standard of Ur
b.
Victory stele of Eannatum (Stele of the Vultures)
c.
Worshippers from the Square Temple at Eshnunna
d.
Warka Vase
27. ____ is a term for the large composite creatures that stood at the entrance to the Assyrian king’s
quarters in their palaces.
a.
Sphinx
b.
Lamassu
c.
Zimri-lim
d.
Ishtar
28. The monumental gateway to the citadel of Persepolis is a reference to ____.
a.
the harmony of the peoples of the Assyrian empire
b.
the harmony of the peoples of the Sasanian empire
c.
the harmony of the peoples of the Persian empire
d.
the harmony of the peoples of the Elamite empire
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
29. (Figure 2-2)
a.
Uruk
b.
Ur
c.
Babylon
d.
Lagash
30. (Figure 2-6A)
a.
Hammurabi
b.
Ashurbanipal
c.
Eshnunna
d.
Gudea
31. (Figure 2-6)
a.
deities
b.
court of Gudea
c.
council of Ur
d.
votive figures
32. (Figure 2-18)
a.
Victory Stele of Naram-Sin
b.
Stele of Hammurabi
c.
Victory Stele of Eannatum
d.
Stele of Ashurbanipal
33. (Figure 2-16)
a.
Gudea
b.
Urnanshe
c.
Eannatum
d.
Sargon the Great
34. (Figure 2-25)
a.
apadana
b.
plaza
c.
sanctuary
d.
royal bedchamber
35. (Figure 2-28A)
a.
Triumph of Ashurbanipal over Cyrus
b.
Triumph of Xerxes over Alexander the Great
c.
Triumph of Titus over Shapur I
d.
Triumph of Shapur I
36. (Figure 2-7)
a.
Victory Stele of Naram-Sin
b.
Stele of Hammurabi
c.
Victory Stele of Eannatum (Stele of the Vultures)
d.
Stele of Gudea
37. (Figure 2-11)
a.
signet ring
b.
bracelet
c.
cylinder seal
d.
stele
38. (Figure 2-8)
a.
Standard of Cyrus
b.
Standard of Hammurabi
c.
Standard of Ur
d.
Standard of Nimrud
39. (Figure 2-15)
a.
Sumerian
b.
Akkadian
c.
Babylonian
d.
Assyrian
40. (Figure 2-13)
a.
Naram-Sin of Akkad
b.
Hammurabi of Babylon
c.
Gudea of Lagash
d.
Napir-Asu of Susa
41. (Figure 2-20A)
a.
Persepolis
b.
Dur Sharrukin (modern Khorsabad)
c.
Babylon
d.
Akkad
42. (Figure 2-22)
a.
Assyrian
b.
Persian
c.
Sumerian
d.
Neo-Babylonian
43. (Figure 2-27)
a.
Babylonian
b.
Sasanian
c.
Akkadian
d.
Sumerian
44. (Figure 2-10)
a.
Standard of Ur
b.
cylinder seal
c.
lamassu
d.
sound box
45. (Figure 2-4)
a.
Uruk
b.
Sasanian
c.
Assyrian
d.
Babylonian
46. (Figure 2-21)
a.
Hittite
b.
Achaemenid
c.
Assyrian
d.
Sasanian
47. (Figure 2-24)
a.
Ur
b.
Babylon
c.
Persepolis
d.
Assyria
48. (Figure 2-17A)
a.
mural
b.
fresco
c.
encaustic on wood
d.
tempera on panel
49. (Figure 2-16)
a.
Urnanshe
b.
Hammurabi
c.
Gudea
d.
Zimri-Lim
50. (Figure 2-22)
a.
Iran
b.
Ur
c.
Persia
d.
Iraq
51. (Figure 2-26A)
a.
candle holder
b.
rhyton
c.
goblet
d.
sacrificial vessel
52. (Figure 2-26)
a.
Hamadan
b.
Tehran
c.
Persepolis
d.
Kalhu
SLIDE QUESTIONS
53. The Head of an Akkadian ruler (Figure 2-12) represents
a.
a deity
b.
an official and ruler
c.
the work of Persepolis
d.
a royal figure from Sumer
54. Statuettes of worshipers (Figure 2-6) represent
a.
rulers and duty
b.
deep commitment to religion and service
c.
the work of Uruk
d.
the canon of Assyrian sculptural tradition
55. Statue of Queen Napir-Asu (Figure 2-19)
a.
represents ideal queen and serves as a votive figure
b.
represents ideal goddess and serves as an idol
c.
represents the work of the Sasanian Empire
d.
represents the work of Sumer
56. Assyrian archers pursuing enemies (Figure 2-22) and Ashurbanipal hunting lions (Figure 2-23)
a.
represents the work of the Assyrian and Achaemenid Empires
b.
sculptors have shown the optical view of both events
c.
sculptors have shown the conceptual view of both events
d.
represents the work of the Elamite Empire
57. Victory stele of Naram-Sin (Figure 2-13) and Triumph of Shapur I (Figure 2-28A)
a.
both represent a military victory
b.
both represent deep religious commitment of both civilizations
c.
both represent mythological heroes
d.
both exhibit influences from Ancient Greece
58. Soundbox of the lyre from tomb 789 (Figure 2-10)
a.
represents the coat-of-arms of Naram-sin
b.
can be found on the Standard of Ur
c.
represents the coat-of-arms of Eannatum
d.
represents heraldic composition and burlesquing a regal feast
59. Stele with law code of Hammurabi (figure 2-18) represents
a.
the gods granting the right to rule
b.
the coronation of the ruler
c.
the work of Sumer and Babylon
d.
the gods granting the right to codify the law
60. Statuettes of worshipers (Figure 2-6) and Seated Gudea holding temple plan (Figure 2-16)
a.
both represent the continuing tradition of depictions of royalty
b.
both represent the deep commitment to religion and the gods
c.
both represent the work of Sumer and Akkad
d.
both represent the Assyrian tradition of royal depictions
61. Persepolis (royal audience hall) (figure 2-25) and Palace of Shapur I, Ctesiphon (Figure 2-28A).
a.
both represent the splendor of the Achaemenid Empire
b.
both represent the influences of the Greeks
c.
each palace complex defines its period
d.
each represents the influences of Parthian construction techniques
62. Victory stele of Eannatum (Stele of the Vultures) (Figure 2-7) and Victory stele of Naram-Sin (Figure
2-13)
a.
Victory stele of Naram-Sin shows daring innovation by breaking with the compositional
formula of story telling via horizontal registers
b.
Victory stele of Eannatum (Stele of the Vultures represents the Assyrian tradition of war
relief
c.
each work represents Sumer and Elamite workshops
d.
each work represents Achaemenid and Sasanian workshops
SHORT ANSWER
1. What is the significance of cuneiform?
2. Explain the importance of cylinder seals.
3. What is a lamassu and where was it placed?
4. What is an iwan?
5. How did the destruction of Persepolis change the balance of power within the Ancient Near East?
6. What is the most importance archaeological source of knowledge regarding Persian architecture?
7. Discuss the focus of Sumerian city planning.
8. Why was the concept of the city-state an important innovation?
9. What do the reliefs of the palace of Ashurbanipal at Nineveh depict?
10. The Elamite Empire was strong enough to plunder Babylon and carry off the stele of Naram-Sin and
Hammurabi, then re-erect them in their capital city of Susa. Why is this event significant?
11. How does the lamassu provide a conceptual picture and all of its important parts?
12. What is the purpose of a votive figure?
13. Describe an architectural feature used at Persepolis that seems to have been uniquely Persian.
14. How do the reliefs on the Palace of Darius at Persepolis reflect the purpose of the building?
15. What was the importance of the Code of Hammurabi?
16. Describe three stylistic conventions found in Sumerian sculpture.
17. Why is the Hittite Lion Gate at Boghazköy significant?
ESSAY
1. What concept of leadership did the Akkadians introduce to ancient Mesopotamia and how did this
influence their art?
2. Describe the changing political map of the Ancient Near East. How did this political climate initiate
change in the creative processes of three distinct groups (your choice)? How did the political climate
disseminate the artistic motifs from group to group? How did your selected groups adapt these
conventions to fit their respective aesthetic needs? Use examples to support your essay.
3. What was the primary purpose of Assyrian relief sculpture and why was it unique in terms of style and
subject matter from other ancient Mesopotamian cultures? Use examples to support your essay.
4. Compare and contrast temple architecture and palace architecture. How do these structures define their
respective groups? Use two distinct cultural groups and specific examples to support your essay.
5. Discuss the impact Sumerian culture had on Mesopotamia. What were their contributions to the
development of society and art? How did their culture influence contemporaneous and later groups?
Use specific examples to develop your essay.
6. Discuss the changes that have occurred in art from the Neolithic Period (Chapter 1) to the art of the
ancient Near East. Use examples to support your essay.
7. Discuss the social and economic changes that took place in the Ancient Near East. How did these
changes impact the art? Use specific examples to support your essay.
8. Describe the religion practiced by Sumer and how it affected their art. Use examples to support your
essay.
9. Discuss the development of relief sculpture in the Ancient Near East. Focus on three groups. Consider
changes in the proportions of the figures, the depiction of details, and the position of head and
shoulders in relation to the body. Cite specific works to illustrate your argument.
10. Describe the differences between Assyrian relief sculpture and Achaemenid relief sculpture. Consider
the function of the relief and how it reflected the group. Use examples to support your essay.
OTHER
SLIDE QUESTIONS
1. How is Ashurnasirpal identified in this relief?
2. What makes this depiction of Gudea significant?
3. Explain the significance of the design and function of this vessel.
