This expert guide to the art of Mesopotamia, spanning more than 8000 years, is especially important as this ancient cultural legacy is threatened by contemporary conflict

"This splendid work of scholarship . . . sums up with economy and power all that the written record so far deciphered has to tell about the ancient and complementary civilizations of Babylon and Assyria."—Edward B. Garside, New York Times Book Review Ancient Mesopotamia—the area now called Iraq—has received less attention than ancient Egypt and other long-extinct and more spectacular civilizations. But numerous small clay tablets buried in the desert soil for thousands of years make it possible for us to know more about the people of ancient Mesopotamia than any other land in the early Near East. Professor Oppenheim, who studied these tablets for more than thirty years, used his intimate knowledge of long-dead languages to put together a distinctively personal picture of the Mesopotamians of some three thousand years ago. Following Oppenheim's death, Erica Reiner used the author's outline to complete the revisions he had begun. "To any serious student of Mesopotamian civilization, this is one of the most valuable books ever written."—Leonard Cottrell, Book Week "Leo Oppenheim has made a bold, brave, pioneering attempt to present a synthesis of the vast mass of philological and archaeological data that have accumulated over the past hundred years in the field of Assyriological research."—Samuel Noah Kramer, Archaeology A. Leo Oppenheim, one of the most distinguished Assyriologists of our time, was editor in charge of the Assyrian Dictionary of the Oriental Institute and John A. Wilson Professor of Oriental Studies at the University of Chicago.

Modern-day archaeological discoveries in the Near East continue to illuminate man's understanding of the ancient world. This illustrated handbook describes the culture, history, and people of Mesopotamia, as well as their struggle for survival and happiness.

In this fascinating and compelling book, Zainab Bahrani introduces readers to the spectacular images and monuments of this region of the Near East, covering modern Iraq, northeast Syria and southeast Turkey. As the narrative unfolds, readers will learn about the art of the legendary civilizations that flourished between the Tigris and the Euphrates rivers, and how it was made and received. She addresses the present-day situation in these lands and the violent destruction that continues to threaten the rich cultural heritage of Mesopotamia. Chapter-opening maps and overviews guide readers through the geography and chronology of Mesopotamia, visiting the ancient cities of Ur, Babylon, Nineveh, Hatra and Seleucia on the Tigris. The book includes a glossary that defines all art-historical and technical terminology.

Mesopotamia, in modern-day Iraq, was home to the remarkable ancient civilizations of Sumer, Akkad, Babylonia, and Assyria. From the rise of the first cities around 3500 BCE, through the mighty empires of Nineveh and Babylon, to the demise of its native culture around 100 CE, Mesopotamia produced some of the most powerful and captivating art of antiquity and led the world in astronomy, mathematics, and other sciences—a legacy that lives on today. Mesopotamia: Civilization Begins presents a rich panorama of ancient Mesopotamia’s history, from its earliest prehistoric cultures to its conquest by Alexander the Great in 331 BCE. This catalogue records the beauty and variety of the objects on display, on loan from the Louvre’s unparalleled collection of ancient Near Eastern antiquities: cylinder seals, monumental sculptures, cuneiform tablets, jewelry, glazed bricks, paintings, figurines, and more. Essays by international experts explore a range of topics, from the earliest French excavations to Mesopotamia’s economy, religion, cities, cuneiform writing, rulers, and history—as well as its enduring presence in the contemporary imagination.

"In The Meaning of Color in Ancient Mesopotamia, Shiyanthi Thavapalan offers the first in-depth study of the words and expressions for colors in the Akkadian language (c. 2500-500 BCE). By combining philological analysis with the technical investigation of materials, she debunks the misconception that people in Mesopotamia had a limited sense of color and convincingly positions the development of Akkadian color language as a corollary of the history of materials and techniques in the ancient Near East"--

These essays represent a summation of Piotr Steinkeller's decades-long thinking and writing about the history of third millennium BCE Babylonia and the ways in which it is reflected in ancient historical and literary sources and art, as well as of how these written and visual materials may be used by the modern historian to attain, if not a reliable record of histoire événementielle, a comprehensive picture of how the ancients understood their history. The book focuses on the history of early Babylonian kingship, as it evolved over a period from Late Uruk down to Old Babylonian times, and the impact of the concepts of kingship on contemporaneous history writing and visual art. Here comparisons are drawn between Babylonia and similar developments in ancient Egypt, China and Mesoamerica. Other issues treated is the intersection between history writing and the scholarly, lexical, and literary traditions in early Babylonia; and the question of how the modern historian should approach the study of ancient sources of "historical" nature. Such a broad and comprehensive overview is novel in Mesopotamian studies to date. As such, it should contribute to an improved and more nuanced understanding of early Babylonian history.

Provides a broad view of the history and current state of scholarship on the art of the ancient Near East This book covers the aesthetic traditions of Mesopotamia, Iran, Anatolia, and the Levant, from Neolithic times to the end of the Achaemenid Persian Empire around 330 BCE. It describes and examines the field from a variety of critical perspectives: across approaches and interpretive frameworks, key explanatory concepts, materials and selected media and formats, and zones of interaction. This important work also addresses both traditional and emerging categories of material, intellectual perspectives, and research priorities. The book covers geography and chronology, context and setting, medium and scale, while acknowledging the diversity of regional and cultural traditions and the uneven survival of evidence. Part One of the book considers the methodologies and approaches that the field has drawn on and refined. Part Two addresses terms and concepts critical to understanding the subjects and formal characteristics of the Near Eastern material record, including the intellectual frameworks within which monuments have been approached and interpreted. Part Three surveys the field’s most distinctive and characteristic genres, with special reference to Mesopotamian art and architecture. Part Four considers involvement with artistic traditions across a broader reach, examining connections with Egypt, the Aegean, and the Mediterranean. And finally, Part Five addresses intersections with the closely allied discipline of archaeology and the institutional stewardship of cultural heritage in the modern Middle East. Told from multiple perspectives, A Companion to Ancient Near Eastern Art is an enlightening, must-have book for advanced undergraduate and graduate students of ancient Near East art and Near East history as well as those interested in history and art history.

Likely to become a standard work for students of the ancient Near East, and for those interested in the high cultures of the region, this account is also a highly accessible repository of information valuable to archaeologists, anthropologists, etc