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|a Ataç, Mehmet-Ali
|d 1972-
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|a Ataç, Mehmet-Ali 1972-
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|a Art and immortality in the ancient near east
|c Mehmet-Ali Ataç
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|a New York
|b Cambridge University Press
|c 2018
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|a Far from being a Judeo-Christian invention, apocalyptic thought had its roots in the ancient Near East and was expressed in its art
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|a Cover -- Half-title -- Title page -- Copyright information -- Epigraph -- Table of contents -- List of Illustrastions -- Acknowledgments -- List of abbreviations -- Introduction -- Toward a Metaphysics of the Art of the Ancient Near East -- The Corpus of Images -- Questions of Text and Image -- Tammuz and Gilgamesh -- A Supra-Textual Language -- Conceptual Bases -- Egypt and Mesopotamia -- Conceptions of Sacral Time and Eschatology -- Defining Apocalyptic -- Out of Time, Out of History -- Artistic Production and "Regal Art" -- The Royal Destiny -- Art and the Apocalyptic -- One The "Investiture" Painting from Mari -- Archaeological Discovery and Architectural Setting -- The Mari Painting in the Context of the Art of the Ancient Near East -- The Affinity between Mari and Assyria -- Conceptions of Renewal in the Mari Painting -- The Flood Myth in the Old Babylonian Period -- Previous Interpretations -- Alternative Views -- A Critical Position -- Two The Iconographic Analysis of the Mari Painting -- The Ring and Rod: Beyond Legitimacy -- The Builder King -- Gradation and Framing -- The Flowing Vase: Beyond Fertility -- Aquatic Endlessness -- Ishtar and Ea -- An Aquatic Doorway -- The Central Panel: Beyond a Rectangular Frame -- Heaven in Earth -- The Mythical Quadrupeds: Beyond the Apotropaic -- The Blue Bird in Flight: The "Phoenix"? -- Ascent to Heaven -- Coloristic Symbolism -- Stairway to Heaven -- Three The Flood Myth as Paradigm -- A Note on Method -- The Ideal Enclosure and the Ideal Garden -- The Ideal Temple -- Numerological Symbolism -- A New Cosmic Order -- Flood Vision -- Defining Paradeigma -- The Mari Painting and the Assyrian "Sacred Tree" -- Postscript on Shamanic Lore in the Art of Ancient Mesopotamia -- Four The Semantics of the Frame of Running Spirals -- Running Spirals as Symbolic Form -- The Ouroboric Serpent
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|a Primordial Chaos as Source of Periodic Destruction and Renewal -- Serpents, Streams, and Endless Time -- Neo-Sumerian Roots -- An Anatolian Ouroboros.? -- Five Implications of Sacral Time and Eschatology -- Temporal Cyclicality in Ancient Mesopotamia -- An Apocalyptic Perspective -- Defying Cyclicality through Ascent -- The Hittite Double Winged Disk -- Hittite Visual Formulations of Ascent -- Mountain and Water -- To Die is to Become a God -- Egyptian Roots -- Conceptions of Temporal and Astral Eternity -- Nothing Babylonian -- Conceptions of Apocalyptic Eschatology -- Closure to the Mari Painting -- Postscript: Why the Apocalyptic Would Have Been Esoteric -- Six The "Royal Destiny": -- From Ashurnasirpal to Ashurbanipal -- Description and Historical Framework -- Previous Interpretations and the Present Approach -- Paradisiac Implications -- The "Garden Scene" and its Intercultural Connections -- "The Charms of Tyranny" -- The Assyrian Queen Wearing the Mural Crown -- The Celestial City -- The Garden as a Transitional Extreme -- A Vergilian Model -- Ishtar and "Holy War" -- Closure to the "Garden Scene" -- Epilogue -- Notes -- Introduction -- 1 The "Investiture" Painting From Mari -- 2 The Iconographic Analysis of The Mari Painting -- 3 The Flood Myth as Paradigm -- 4 The Semantics of The Frame of Running Spirals -- 5 Implications Of Sacral Time and Eschatology -- 6 The "Royal Destiny": The "Garden Scene" of Ashurbanipal Revisited -- Epilogue -- Bibliography -- Index
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|w (DE-576)511905017
|z 9781107154957
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