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Before the Urartian Kingdom was established, the environs of Lake Van — the core
area of Urartian culture — had attracted the attention of Assyrian kings from time to
time. Therefore, political and military activities in the region are included
in the inscriptions of the Assyrian State. The identity as well as the cultural and ethnic
structure of t...
Contexts in source publication
Context 1
... have already mentioned that Urina Mountain, visible in one of the reliefs of Ashurnasirpal II at Balawat Mound, could be a mountain in the Lake Van basin. The war scenes depicted in the same bronze gate band correspond exactly with depictions of Aramu's army, which was defeated by the Assyrians and is shown on bands I, II and VII of the Balawat reliefs of Shalmaneser III (Figs 9, 10, 11). 47 In the short inscription on the lower register of band I, Assyrian king Shalmaneser III notes that he conquered Aramu of Urartu's city Sugunia: In the upper line of band II it says: ...
Context 2
... I captured." 50 While Assyrian inscriptions speak of a Urartian king named Aramu, the depictions show Aramu's warriors. In the bands where the above lines appear, the common char- acteristics of Urartian warriors are that they have crested helmets, carry small, round shields which are embossed at the centre, and sometimes climb down mountains (Fig. 13). The shields of the enemy warriors shown in the war of Ashurnasirpal II on Urina Mountain are not visible, but the men have crested helmets and are shown on mountains (Fig. 12). The helmets that they wear and the helmets of the army of Aramu against which Shalmaneser III fought are different variations on the same crested helmets. ...
Context 3
... char- acteristics of Urartian warriors are that they have crested helmets, carry small, round shields which are embossed at the centre, and sometimes climb down mountains (Fig. 13). The shields of the enemy warriors shown in the war of Ashurnasirpal II on Urina Mountain are not visible, but the men have crested helmets and are shown on mountains (Fig. 12). The helmets that they wear and the helmets of the army of Aramu against which Shalmaneser III fought are different variations on the same crested helmets. Here, two questions must be raised: First, is the crested helmet only a way for the artist who made this relief to differentiate the warriors of Nairi lands, or do the helmets of ...
Context 4
... third stage must be the continuation of the sec- ond: Aramu's warriors wear crested helmets as well. In spite of the fact that no crested helmets were found in any Urartian fortresses, they can be seen with some Urartian artefacts; for example, the warrior statue from Toprakkale 51 and the warriors described on some metal artefacts (Figs 14, 15) 52 bear them. Since no fortress belonging to the period of Aramu has so far been excavated, it is also within the bounds of possibility that helmets of this type have simply not yet been found. ...
Context 5
... cone-shaped helmet from the time of Sarduri I has been found; however, there are cone-shaped helmets belonging to the period of Ispuini, who was Sarduri's succes- sor. The gods depicted on the Anzaf Shield, which was found at the Yukarı Anzaf fortress and dated to the Ispuini-Menua period, wear cone-shaped helmets (Fig. 16). 69 In addition, in some museums abroad there are cone-shaped helmets on which it is written that they are dedicated to Ispuini. 70 Another cultural indicator is shields. On Assyrian reliefs, Aramu warriors carry round shields which are embossed at the centre, but very small. On the basis of the body to shield ratio that was calculated ...
Context 6
... at the centre, but very small. On the basis of the body to shield ratio that was calculated from the depictions, the shields could not measure more than half a metre; however, no shields of less than 60 cm in diameter have been found at archaeological excavations. The length of the shields recovered up until now varies between 60 and 120 cm (Fig. 18). It should also be taken into con- sideration, however, that ratios given in the depictions were not always realistic; as a matter of fact, in some of them it can be observed that Assyrian warriors are portrayed as taller than the fortification ...
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Citations
... Обувь центрального воина обнаруживает сходство с изображениями сапожков конных лучников из урартских бронзовых поясов в коллекциях Музея Аданы [17, fig. 7], Археологического музея Диярбакыра [10, p. 21-26, figs. 1-3] и частного собрания Нуролла Елганяна [19,No. 9]. Короткие сапожки с характерным Z-образным креплением представлены на всех трех всадниках, причем за спиной у них изображены луки -то же вооружение, что и у среднего воина на росписи из Эребуни. Впрочем, два из них (Музей Диярбакыра, частное собрание Елганяна) дополнительно вооружены копьями/дротиками и щитами. Помимо всадников на урарт ...
... скорее всего, гравированный бронзовый пояс. При этом здесь головы лучников венчают характерные урартские остроконечные шлемы. Согласно классификации Ханса Йорга Келлнера, бронзовый пояс из частного собрания Елганяна относится к «5 группе» и датируется ок. 700 г. до н. э., а пояс с лучниками из Израильского музея принадлежит к «4 группе» [19,p. 150,No. 9;No. 7], которая охватывает период ок. 740-640 гг. до н. э., т. е. иконография обуви с Z-образными лентами существовала и в классическом (VIII в. до н. э.), и в позднеурартском изобразительном искусстве (VII в. до н. э.). ...
Culture is a very complex notion and the peculiarities of a particular culture differ
depending on many variables. It can evolve over time, during which elements may be
abandoned while other new ones may accrue. Urartians had one of the most enigmatic
cultures in the ancient Near Eastern world. This article identifies the fundamental
attributes that characterise Urartian culture. While describing the Urartian culture,
one can observe some elements that are integrated, but are not completely assimilated;
these elements form a whole either through the influence or direct contact with
nearby cultural regions. Thus, here an attempt is made to characterise those aspects
which characterise Urartu. These aspects can be classified briefly as material culture
(such as bronze working, pottery and architecture), writing and religion. Some of these
aspects include styles of visual arts. The present paper,then, aims to draw up a general
theoretical framework using diverse elements in order to better understand the
Urartian cultural identity.
