This relief, from the palace of the Assyrian king Ashurnasirpal II (r. ca. 883-859 B.C.), depicts a king, probably Ashurnasirpal himself, and an attendant. The two larger-than-life-sized figures are carved in low relief, and as with other reliefs in the palace featuring the image of the king, the carving is particularly fine and shows special attention to detail. The panel joins a second relief (32.143.6, see ‘Additional Images’ above) that shows a further attendant, also facing the king, and a winged supernatural protective figure. Together, the two panels show the king flanked by his human courtiers, just as in other scenes he or the Assyrian Sacred Tree are flanked by human and eagle-headed winged guardian figures.
The king is immediately identifiable by his crown, a distinctive truncated cone with a smaller cone emerging from the center, with a long ‘streamer’ hanging from its back. He is also recognizable by his luxuriant beard, and in the relief’s original state would have been further distinguished by his clothing, more elaborately embroidered than that of any other figure. The pigment that originally colored these reliefs is now lost, but the embroidery is still faintly visible in the form of fine inscised lines made by the sculptors over most areas of the king’s clothing. The king wears elaborate jewelry, including rosette bracelets, thick armlets worn above the elbow, large pendant earrings, and a necklace whose beads and spacers would probably have consisted of semiprecious stones and gold. The king carries a sword on his left hip, as well as two daggers tucked into his clothing, and in his left hand holds the tip of a bow. In his right hand, balanced on his fingertips, is a shallow bowl. In other reliefs the bowl contains wine and is used for pouring libations, for example on the bodies of slain animals following a royal hunt. Here, however, there is no apparent object for the libation. The relief comes from an area of the palace that seems to have held sarcophagi and might have been devoted to the cult of royal ancestors, and one possibility is that the libation is here being poured for the dead. For similar reasons, while it is normally thought that all such images of the king represent Ashurnasirpal, it has also been suggested that some may represent ancestral kings.
The second figure on the relief is beardless, and probably represents a eunuch. He is richly dressed, with jewelry including rosette bracelets, armbands, a collar of beads, probably of semiprecious stone with gold spacers, pendant earrings, and a crescent-shaped pectoral. At the ends of his short sleeves are bands of incised plant motifs representing embroidery; another incised band below the waist shows further plants but also birds, possibly ostriches. He carries a sword whose scabbard, like the king's, ends in the image of two roaring lions. At the sword's hilt another lion head can be seen; an object in the Metropolitan Museum's collection may be just such a hilt (54.117.20). In his right hand the eunuch holds a fly-whisk whose handle is carved in the shape of a ram's head. The object in his left hand may be an oil lamp, though it has also been suggested that it might be a ladle to replenish the wine in the bowl held by the king. Its handle terminates in the head of a snake, or more likely a fantastic composite creature, called Mushhushshu, associated with the god Ashur.
A distinctive feature of the Northwest Palace is the so-called Standard Inscription that ran across the middle of every relief, often cutting across the imagery. The inscription, carved in cuneiform script and written in the Assyrian dialect of the Akkadian language, lists the achievements of Ashurnasirpal II (r. 883–859 B.C.), the builder of the palace. After giving his ancestry and royal titles, the Standard Inscription describes Ashurnasirpal’s successful military campaigns to east and west and his building works at Nimrud, most importantly the construction of the palace itself. The inscription is thought to have had a magical function, contributing to the divine protection of the king and the palace.
#128. The Director's Tour, Second Floor: Reliefs from the Palace of Ashurnasirpal II, Part 1
128. The Director's Tour, Second Floor: Reliefs from the Palace of Ashurnasirpal II, Part 1
5875. The Director's Tour, Second Floor: Reliefs from the Palace of Ashurnasirpal II, Part 2
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Date:ca. 883–859 BCE
Geography:Mesopotamia, Nimrud (ancient Kalhu)
Dimensions:92 1/4 x 92 x 4 1/2 in. (234.3 x 233.7 x 11.4 cm)
Credit Line:Gift of John D. Rockefeller Jr., 1932
1840s, excavated by Sir Austen Henry Layard; 1849, presented by Austen Layard to Lady Charlotte Guest for Canford Manor, Dorsetshire, England; 1919, purchased by Dikran Kelekian from Ivor Churchill Guest; 1927, purchased by J. D. Rockefeller; acquired by the Museum in 1930 (but not accessioned until 1932), gift of J. D. Rockefeller.
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Winlock, Herbert E. 1933. "Assyria: A New Chapter in the Museum's History of Art." Bulletin of the Metropolitan Museum of Art 28 (2), p. 21, 23, fig. 3.
Gadd, Cyril J. 1936. The Stones of Assyria. London: Chatto and Windus, p. 235f.
Weidner, Ernst F. 1939. Die Reliefs der assyrischen Könige. Archiv für Orientforschung, Beiheft 4. Part 1: Die Reliefs in England, in der Vatikan-Stadt und in Italien. Berlin: Im Selbstverlage des Herausgebers, p. 136.
Porada, Edith, and Susanna Hare. 1946. The Great King...King of Assyria: Assyrian Reliefs in the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, p. 23, pls. II-III.
Louchheim, Aline B. 1949. “Near-Eastern Art Placed on Display: Metropolitan Shows Works That Date to 5,000 Years Ago -- Diverse Races Covered.” The New York Times, p. 19.
Wilkinson, Charles K. 1952. "Some New Contacts with Nimrud and Assyria." The Metropolitan Museum of Art Bulletin 10 (8), p. 237.
Stearns, John B. 1961. "Reliefs from the Palace of Ashurnasirpal II." Archiv für Orientforschung 15, pp. 21, 59, pls. 4, 87.
Crawford, Vaughn, Prudence O. Harper, and Holly Pittman. 1980. Assyrian Reliefs and Ivories in the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, pp. 21, 28-29, 31, figs. 13, 21-22, 24.
Winter, Irene. 1980. “A Decorated Breastplate from Hasanlu, Iran.” Hasanlu Special Studies I, University Museum Monograph 39. Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology, figs. 40, 68.
Meuszynski, Janusz. 1981. Die Rekonstruktion der Reliefdarstellungen und ihrer Anordnung im Nordwestpalast von Kalhu (Nimrud) I. Baghdader Forschungen, Bd. 2. Mainz am Rhein: Philipp von Zabern, pp. 41, 45, 84, pl. 8,2.
Harper, Prudence O., et al. 1984. "Ancient Near Eastern Art." The Metropolitan Museum of Art Bulletin 41 (4), p. 8, fig. 3.
Russell, John M. 1997. From Nineveh to New York. New Haven: Yale University Press, pp. 21-22, 63-64, 109-112, figs. 8, 91.
Cifarelli, Megan. 1998. "Gesture and Alterity in the Art of Ashurnasirpal II of Assyria." The Art Bulletin 80 (2), pp. 210-211, fig. 1.
Russell, John M. 1999. The Writing on the Wall: Studies in the Architectural Context of Late Assyrian Palace Inscriptions. Winona Lake, Ind.: Eisenbrauns, p. 17, fig. 13.
Collins, Paul. 2006. "An Assyrian-Style Ivory Plaque from Hasanlu, Iran." Metropolitan Museum Journal 41, p. 22, fig. 3.
Rakic, Yelena ed. 2010. Discovering the Art of the Ancient Near East: Archaeological Excavations Supported by The Metropolitan Museum of Art, 1931–2010. The Metropolitan Museum of Art Bulletin 68 (1), Summer 2010, p. 21.
Benzel, Kim, Sarah B. Graff, Yelena Rakic, and Edith W. Watts. 2010. Art of the Ancient Near East: A Resource for Educators. New York: The Metropolitan Museum of Art, image 19, pp. 88-89.
Curtis, John. 2014. “Assyria: Establishing the Imagery of Empire.” In Assyria to Iberia at the Dawn of the Classical Age, exh. cat. edited by Joan Aruz, Sarah B. Graff, and Yelena Rakic. New York: The Metropolitan Museum of Art, fig. 2.4, p. 56, [incorrectly cited as 32.143.6].
Aruz, Joan, with Jean-Franҫois de Lapérouse. 2014. “Nimrud Ivories.” In Assyria to Iberia at the Dawn of the Classical Age, exh. cat. edited by Joan Aruz, Sarah B. Graff, and Yelena Rakic. New York: The Metropolitan Museum of Art, fig. 3.22, p. 141.
Yalçin, Serdar. 2016. “Men, Women, Eunuchs, Etc.: Visualities of Gendered Identities in Kassite Babylonian Seals (ca. 1470–1155 B.C.).” Bulletin of the American Schools of Oriental Research 376, p. 125 fig. 2.
Rakic, Yelena. 2017. "Nineveh, Lady Charlotte Guest and The Metropolitan Museum of Art." In Nineveh, the Great City: Symbol of Beauty and Power, edited by Lucas P. Petit and Daniele Morandi Bonacossi, exh. cat., Rijksmuseum van Oudheden. Papers on Archaeology of the Leiden Museum of Antiquities (PALMA) 13. Leiden: Sidestone Press, pp. 317-320.
Thomason, Allison K. 2019. "The Phenomenonology and Sensory Experience of Dress in Mesopotamia: The Embodiment of Discomfort and Pain through Dress." In Fashioned Selves: Dress and Identity in Antiquity, edited by Megan Cifarelli. Oxford: Oxbow Books, p. 226-7, fig. 15.2.
Chow, Caleb T. 2019. “Sword Carry in the Art of Ashurnasirpal II: Displays of Divine Authority.” Iraq 82 (2019), pp. 84-85, fig. 12.
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