The Art of Elam

Cover
Half Title
Endorsement
Title Page
Copyright Page
Dedication
Table of contents
Plates
Preface and acknowledgments
List of abbreviations, text sigla, and other abbreviations
About this book
The land of Elam
The Elamite collections
Art historical considerations
Chronological table
Part I Elam before Elam (CA. 4200–2900 BC)
	1 The Birth of Susa (CA. 4200–3800 BC)
		Architecture
		Pottery
			Manufacture and technical characteristics
			Painted vessels
				Motifs
			Susa I pottery: Between naturalism and abstraction
		Glyptic
			Meaning and function
		Sculpture
		Metalwork
		A view from the highlands: Tall-e Bakun A (ca. 4500–4000 BC)
			Glyptic
			Pottery: Black on buff painted vessels
		The end of an era
		Notes
	2 From Village to City (CA. 3800–3100 BC)
		Architecture
		Pottery
		Glyptic: The information revolution
			Clay bullae
			Stamp seals
			Cylinder seals
				Animals and hybrids
				Humans and their mundane activities
				Cultic-ritual scenes
				Bows and archers
			Imagery in context
		Sculpture
			Luxury cosmetic vessels
			Animal and human statuettes
		Metalwork
		Notes
	3 The Proto-Elamite Period: Susa and the highlands (ca. 3100–2900 BC)
		Architecture
			Monumental architecture
			Domestic architecture
		Pottery
		Glyptic
			The burned steatite “international” Piedmont style
			The classic style
				Animals and hybrids
				Animals impersonating humans
			Interpretations: When animals were human
		Sculpture
		A view from the highlands: Anshan (Tal-e Malyan)
			Architecture
			Glyptic and metalwork
		Notes
Part II The rise of Elam (CA. 2900–1880 BC)
	4 The Age of City States (CA. 2900–2340 BC)
		Architecture
		Sculpture
			Votive tiles
			Bitumen mastic artefacts
				Cylindrical and conical cultic supports
			Free-standing alabaster statuary
		Pottery
			Common wares
			Painted wares
				Polychrome wares
				Monochrome wares
		Glyptic
			Local seals
			Seals from the Vase à la Cachette
			Inventing gods: Cult, myth and the Elamite Pantheon (ca. 2500–2200 BC)
			Female deities from the east
		Metalwork
			Bronze vessels
			Weapons: Daggers, Maces and Axes
			Metrology and tools
		Personal accoutrements
		The lure of the east: Vessels and other imports
			Alabaster vessels
	5 Susa and Akkad (CA. 2340–2100 BC)
		Glyptic
		Sculpture
			Fragmentary reliefs
		Notes
	6 Puzur-Inshushinak and his Time (CA. 2100–2050 BC)
		Architecture
		Sculpture
			Monumental sculpture
				Puzur-Inshushinak’s ceremonial display at Susa
			Small-scale statuary
		Glyptic
		Notes
	7 The Shimashki and the Downfall of Ur (CA. 2050–1880 BC)
		Architecture
			The temples of Inshushinak and Ninhursag at the time of Shulgi (ca. 2050 BC)
		Glyptic
			Foreign Seals at Susa
		Metalwork
		Sculpture
			Stone sculpture
			Terracotta figurines
				Nude females with bird-like head and pinched nose
				Dressed figurines
		Notes
Part III The Golden Age (CA. 1880–1050 BC)
	8 The Sukkalmahs: Reign of the “Great Kings” (ca. 1880–1500 BC)
		Architecture
			The house of Temti-Wartash, Great Chamberlain
		Vessels
			Bitumen mastic vessels
			Incised grey-ware vessels
			Alabaster vessel
		Glyptic
			Sukkalmah-Mesopotamian series from Susa
			Sukkalmah popular series from Anshan and Susa
			Sukkalmah-Elite series from Susa
		Jewelry: Adornment of the dead
		Sculpture
			Highland reliefs and open-air sanctuaries
			Shah Savar relief
			Xong-e Azdhar relief
			The open-air sanctuary of Kurangun
				Nature, religion, and art at Kurangun
			The relief of Naqsh-e Rustam
				Metal sculpture
			Ivory sculpture
			Sculpture in terracotta and sundried clay
		Notes
	9 The Kidinuid ERA (CA. 1500–1400 BC)
		Architecture
			Funerary/cultic complex
			Terrace complexes
			Wall painting
		Glyptic
		Sculpture
			Baked clay heads and mask
			Funerary heads
			Molded terracotta figurines
				Naked bow-legged lute players
				Clothed women breastfeeding or clasping the hands together
				Naked females holding breasts
				Beds with naked couples or single females, and empty beds
		Notes
	10 Untash-Napirisha and his City of Gods (Fourteenth Century BC)
		The city of the gods: Al Untash-Napirisha (Choga Zanbil)
			The ziggurat
			Inner wall, gates and temples
				Southeast side
				Southwest side
				Northwest side
				Temples outside the inner wall
			Middle wall and residential areas
				Cultic installations and residences
			Outer wall, monumental gates, the “Royal” Quarter, and Temple of Nusku
				The outer wall
				Monumental gates
				The “Royal” Quarter
			Hydraulic installations
			Coloring the city of the gods: Vitreous architectural decorations
				Glazed terracotta knobbed tiles and knobs, and glass rods
			Cultic accoutrements
		Sculpture
			Faience statuary
				Human statuary
				Animal statuary
			Glazed terracotta monumental statuary
			Terracotta sculpture
			Ivory human statuary
			Stone sculpture
				Elamite serpent hybrids
				Votive maces
				Stone weights in the shape of ducks
			Metal sculpture
		Glyptic
			The ritual drinking theme
			Divinities, worshipers, and fire
			Weapon holders and hunters
			Animals and hybrids
		Notes
	11 The Shutrukid House (CA. 1190–1050 BC)
		Votive offerings: The Inshushinak Temple Hoard and the Royal Hoard
		Metal sculpture
			Stone sculpture
		Urban religious landscapes: the hall of columns, the sacred grove, and the royal tabernacle
			The Elamite hiyan “columned hall”
			The sacred grove: bull-man, lama, and palm-tree
			Royal tabernacle
			Pierced glazed faience tiles from Susa
		Highland reliefs and open-air sanctuaries
			The Qal-e Tul relief
			Shekaft-e Salman reliefs
				Significance of the highland monumental reliefs
		In the highlands: Anshan (Tal-e Malyan)
		Notes
Part IV Between Golden Age and Empire (CA. 1050–525 BC)
	12 Elam in the First Millennium: Resilience and renaissance
		Highland reliefs and open-air sanctuaries
			Bronze sculpture
		Architecture
			Clay funerary heads
		Vitreous industries: glazed faience and terracotta
			Glazed faience bricks
			Pierced glazed faience tiles
			Glazed faience protome-knobs
			Glazed faience sculpture
			Glazed faience and terracotta vessels
Pyxides
			Amphoriskoi
			Globular bottles
			Various vessels
		Sculpture
			Terracotta sculpture
			Fragmentary limestone and bitumen reliefs from Susa
			Stone sculpture
			Bronze sculpture
			The silver mask “hoard”
				Carved stone vessels
		Metalwork
			Bronze “bathtub” coffins
			Vessels
			Lamps and candelabra
				Lamps
				Candelabra
			“Mermaids” and “priestess”
		Costume and objects of prestige
			Blade weapons
			“Rings”
			Cotton textiles and bracteates
			Completing the costume: body ornamentation
				Pins
				Jewelry
		Glyptic
		Notes
	Conclusion: The legacy of Elamite art and its future
		Afterword
		Notes
Bibliography
Index