Art/ Collection/ Collection/ Art Object
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Furniture plaque carved in relief with papyrus buds and flowers

Period:
Neo-Assyrian
Date:
ca. 9th–8th century B.C.
Geography:
Syria, probably from Arslan Tash (ancient Hadatu)
Culture:
Assyrian
Medium:
Ivory
Dimensions:
4.06 x 3.06 in. (10.31 x 7.77 cm)
Classification:
Ivory/Bone-Reliefs
Credit Line:
Fletcher Fund, 1957
Accession Number:
57.80.17
Not on view
During the early first millennium B.C., ivory carving was one of the major luxury arts that flourished throughout the ancient Near East. Elephant tusks were carved into small decorative objects such as cosmetic boxes and plaques used to adorn wooden furniture. Gold foil, paint, and semiprecious stone and glass inlay embellishments enlivened these magnificent works of art. Based on certain stylistic, formal, and technical characteristics also visible in other media, scholars have distinguished several coherent style groups of ivory carving that belong to different regional traditions including Assyrian, Phoenician, North Syrian and South Syrian (the latter also known as Intermediate).

Several ivories in the Metropolitan Museum’s collection are from the Aramaean town of Arslan Tash, ancient Hadatu, in northern Syria just east of the Euphrates River, close to the modern Turkish border. French archaeological excavations at the site in 1928 revealed city walls and gates in addition to a palace and temple that were built when the Neo-Assyrian king Tiglath-Pileser III (744-721 B.C.) turned the town into a provincial capital and military outpost. During the excavations, over one hundred ivory furniture inlays that can be attributed to the South Syrian and Phoenician styles were found in a building near the palace. One piece bears a dedicatory inscription in Aramaic to King Hazael, mentioned in the Bible, who ruled Damascus during the second half of the 9th century (ca. 843-806 B.C.), suggesting that this collection of ivory furniture inlays could have been taken by the Assyrian state as tribute or booty from Damascus. The Arslan Tash ivories share an amalgamation of Egyptianizing motifs typical of the Phoenician style and forms characteristic of North Syrian art that may indicate a South Syrian or Damascene origin of this group. Today, these ivories are housed in museums in Paris, Aleppo, Jerusalem, Karlsruhe, and Hamburg, as well as The Metropolitan Museum of Art.

On this fragmentary, trapezoidal, low relief plaque, three papyrus flowers alternate with buds in a space framed by vertical and horizontal strips. The plaque is framed by wider strips incised with nested lozenges above and on one side, leaving a triangular space filled with a papyrus flower and two buds, and a guilloche pattern below. The Egyptianizing floral elements suggest that the plaque is carved in the Phoenician style. A mortise cut into the roughened back of the plaque indicates that it was likely made to receive pegs for insertion into a piece of furniture.
Acquired by the Museum in 1957, purchased from Elie Borowski, New York.
Metropolitan Museum of Art. 1957. "Additions to the Collections." The Metropolitan Museum of Art Bulletin 16 (2), Eighty-Seventh Annual Report of the Trustees for the Fiscal Year 1956-1957 (Oct., 1957), p. 67.
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