Lion Hunt in Chariot - Item #3
Each piece is custom finished. Depending on a sculpture’s texture and level of detail, the look of a patina can vary. A slight variation in color from order-to-order is to be expected.
Unless otherwise noted, our reproductions are hand-cast in plaster and reinforced with burlap, fiber strands, and/or metal rods for extra strength.
FLAT WHITE: A unified, matte white finish. This is the optimum patina for cast drawing as it allows focus on form.
WHITE PATINA: A white finish with a light ivory tone added to the top surfaces.
LIGHT ANTIQUE PLASTER: A soft mixture of whites, grays, and yellows to replicate the look of an aged plaster cast.
ANTIQUE PLASTER: A dramatic mixture of grays and yellows to replicate the look of an aged plaster cast.
BRONZE: A rich brown finish with golden highlights to replicate the look of bronze.
STONE: A mixture of lighter tones to resemble natural stone.
DARK STONE: A mixture of darker tones to resemble natural stone.
SANDSTONE: A soft base color with warm highlights to resemble the look of natural sandstone.
TERRA COTTA: A variation of warm tones to resemble terra cotta.
ASSYRIAN STONE (Applies only to item numbers 3, 4, 5, 6 and 738): A two-tone patina augmenting the shallow relief sculpture and its stone texture.
TANAGRA PATINA (Applies only to item numbers 317, 318, 319, 320, 800 and 813): A finish that replicates the colors of the Tanagra figurines as shown in the product images.
38 Inches High x 56 Inches Wide x 3 Inches Deep
The Kingdom of Assyria was located in the valley of the River Tigris in modern-day northern Iraq. The Assyrian king was also the high priest of the god Ashur. From the ninth to seventh centuries BCE, Assyrian artists carved figures from lines. The bodies of the figures were depicted frontally while the heads were shown in profile. As curator Paul Collins of the British Museum said, “no individual in the reliefs ever looks out at the viewer, they exist in a self-contained world in which the action unfolds."
This relief was discovered in the North West Palace in the city of Nimrud (also known as Calah and Kalhu). Some of the most impressive Assyrian artworks are those that show kings hunting lions in an arena which they did in reality. Lions were regarded as the most dangerous animals in Assyria, and depicting a royal hunt relayed the king’s strength and right to rule. As Collins said, the animals “collapse in agony at the hands of the Assyrian king who, through the support of the gods and his skill with weapons, brings civilization to the chaotic and disordered world that the animals represent.” In this relief, three horses pull a chariot with two men. The archer is either King Ashurnasirpal II, who ruled from 883 to 859 BCE, or his son and heir, Shalmaneser III, who ruled from 858 to 824 BCE. As was done here, it was common in Assyrian art to depict a fallen enemy beneath the horses of a chariot. This lion has been wounded by three arrows. The relief contains cuneiform inscription.
Museum: British Museum, London
Origin: North West Palace, Nimrud, Assyria (modern-day Iraq)
Time Period: Neo-Assyrian, 875-860 B.C.E.
1911 Catalog ID # - 2
"Assyria (Room 10)." The British Museum, http://www.britishmuseum.org/visiting/galleries/middle_east/ room_10_assyria_lion_hunts.aspx.
Collins, Paul. "Introduction" and "The Art of Ashurbanipal." Assyrian Palace Sculptures. The Trustees of the British Museum/British Museum Press, 2008, pp. 8-27, 97-141.
"Wall Panel/Relief." Museum number 124579. The British Museum, http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=369058&partId=1&searchText=124579&page=1.