What sorts of messages were encoded in Babylonian and Assyrian art? In what ways could these messages be considered propagandistic? Please select one example of Babylonian art and one example of Assyrian art to compare and contrast in your first post.
Sample solution
Dante Alighieri played a critical role in the literature world through his poem Divine Comedy that was written in the 14th century. The poem contains Inferno, Purgatorio, and Paradiso. The Inferno is a description of the nine circles of torment that are found on the earth. It depicts the realms of the people that have gone against the spiritual values and who, instead, have chosen bestial appetite, violence, or fraud and malice. The nine circles of hell are limbo, lust, gluttony, greed and wrath. Others are heresy, violence, fraud, and treachery. The purpose of this paper is to examine the Dante’s Inferno in the perspective of its portrayal of God’s image and the justification of hell.
In this epic poem, God is portrayed as a super being guilty of multiple weaknesses including being egotistic, unjust, and hypocritical. Dante, in this poem, depicts God as being more human than divine by challenging God’s omnipotence. Additionally, the manner in which Dante describes Hell is in full contradiction to the morals of God as written in the Bible. When god arranges Hell to flatter Himself, He commits egotism, a sin that is common among human beings (Cheney, 2016). The weakness is depicted in Limbo and on the Gate of Hell where, for instance, God sends those who do not worship Him to Hell. This implies that failure to worship Him is a sin.
God is also depicted as lacking justice in His actions thus removing the godly image. The injustice is portrayed by the manner in which the sodomites and opportunists are treated. The opportunists are subjected to banner chasing in their lives after death followed by being stung by insects and maggots. They are known to having done neither good nor bad during their lifetimes and, therefore, justice could have demanded that they be granted a neutral punishment having lived a neutral life. The sodomites are also punished unfairly by God when Brunetto Lattini is condemned to hell despite being a good leader (Babor, T. F., McGovern, T., & Robaina, K. (2017). While he commited sodomy, God chooses to ignore all the other good deeds that Brunetto did.
Finally, God is also portrayed as being hypocritical in His actions, a sin that further diminishes His godliness and makes Him more human. A case in point is when God condemns the sin of egotism and goes ahead to commit it repeatedly. Proverbs 29:23 states that “arrogance will bring your downfall, but if you are humble, you will be respected.” When Slattery condemns Dante’s human state as being weak, doubtful, and limited, he is proving God’s hypocrisy because He is also human (Verdicchio, 2015). The actions of God in Hell as portrayed by Dante are inconsistent with the Biblical literature. Both Dante and God are prone to making mistakes, something common among human beings thus making God more human.
To wrap it up, Dante portrays God is more human since He commits the same sins that humans commit: egotism, hypocrisy, and injustice. Hell is justified as being a destination for victims of the mistakes committed by God. The Hell is presented as being a totally different place as compared to what is written about it in the Bible. As a result, reading through the text gives an image of God who is prone to the very mistakes common to humans thus ripping Him off His lofty status of divine and, instead, making Him a mere human. Whether or not Dante did it intentionally is subject to debate but one thing is clear in the poem: the misconstrued notion of God is revealed to future generations.
References
Babor, T. F., McGovern, T., & Robaina, K. (2017). Dante’s inferno: Seven deadly sins in scientific publishing and how to avoid them. Addiction Science: A Guide for the Perplexed, 267.
Cheney, L. D. G. (2016). Illustrations for Dante’s Inferno: A Comparative Study of Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro. Cultural and Religious Studies, 4(8), 487.
Verdicchio, M. (2015). Irony and Desire in Dante’s” Inferno” 27. Italica, 285-297.
Sample Answer
Sample Answer
Title: Encoded Messages in Babylonian and Assyrian Art: Propagandistic Elements
Introduction: Babylonian and Assyrian art played a significant role in conveying messages that served political, religious, and ideological purposes. These ancient Mesopotamian civilizations utilized art as a powerful tool to communicate their authority, glorify their rulers, and assert their dominance. This essay will analyze the encoded messages in Babylonian and Assyrian art, highlighting their propagandistic elements. Additionally, it will compare and contrast one example of Babylonian art and one example of Assyrian art to exemplify their distinct characteristics.
I. Encoded Messages in Babylonian Art: Babylonian art, particularly during the reign of King Nebuchadnezzar II (604-562 BCE), conveyed several messages:
Divine Rulership:
Babylonian art depicted kings as divinely chosen and favored by the gods.
Religious symbols, such as winged sun disks or divine emblems, were used to emphasize the ruler’s divine connection.
Cultural Superiority:
Babylonian art showcased the city’s grandeur, architectural achievements, and advanced knowledge.
Images of monumental buildings, such as the Ishtar Gate, reinforced the idea of Babylon as a cultural center.
Example of Babylonian Art: The Ishtar Gate:
The Ishtar Gate was a vibrant, blue-glazed entrance to the city of Babylon.
It featured reliefs of lions and dragons, symbols of power and protection.
The gate emphasized the grandeur of Babylon and its ruler, Nebuchadnezzar II.
II. Encoded Messages in Assyrian Art: Assyrian art, known for its militaristic themes, served propagandistic purposes through:
Military Dominance:
Assyrian art glorified military conquests and portrayed kings as mighty warriors.
Battle scenes, depicting victorious kings and defeated enemies, symbolized Assyrian military prowess.
Fear and Intimidation:
Assyrian art aimed to intimidate potential adversaries by showcasing brutal punishments and executions.
Images of impaled enemies or captive prisoners conveyed the consequences of resisting Assyrian rule.
Example of Assyrian Art: The Palace Reliefs of Ashurbanipal:
The palace reliefs of Ashurbanipal in Nineveh showcased hunting scenes, battle depictions, and royal ceremonies.
These reliefs glorified Ashurbanipal’s military achievements and projected his power as a conqueror.
The reliefs also conveyed the king’s authority and dominance over his subjects.
III. Comparing and Contrasting Babylonian and Assyrian Art:
Symbolism:
Babylonian art often incorporated religious symbols to emphasize divine rulership.
Assyrian art focused more on military motifs, showcasing power through battle scenes and conquests.
Subject Matter:
Babylonian art highlighted cultural achievements, architectural prowess, and city grandeur.
Assyrian art prioritized military conquests, showcasing military campaigns, hunting scenes, and punishments.
Tone:
Babylonian art conveyed a sense of cultural pride and divine favor bestowed upon the ruler.
Assyrian art aimed to instill fear and project dominance through brutal imagery.
Conclusion: Babylonian and Assyrian art carried encoded messages that served propagandistic purposes for these ancient civilizations. Babylonian art emphasized divine rulership and cultural superiority, while Assyrian art glorified military dominance and projected fear. Through the Ishtar Gate and the palace reliefs of Ashurbanipal, we can witness the distinct characteristics of each civilization’s art and the messages they sought to convey. Understanding these encoded messages provides valuable insights into the political, religious, and ideological ambitions of these ancient Mesopotamian societies.
References:
Oates, J., & Oates, D. (2017). Babylon. Oxford University Press.
Russell, J. M. (2008). From Nineveh to New York: The Strange Story of the Assyrian Reliefs in the Metropolitan Museum & the Hidden Masterpiece at Canford School. Yale University Press.
