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08 · Hybrid object · Assyrian Empire

Ivory in Nimrud

A travelling style within an Assyrian palace

The ivories found at Nimrud combine Phoenician, Egyptian and Syrian motifs within an Assyrian palace.

Museum documentation · free public access, no account required.

Image 1 of 3 · Main image
DECLARED VISUAL RECONSTRUCTION · EXISTING EDITORIAL RESOURCE · TRACEKEEPERS

Generated reconstruction · Declared visual hypothesis

Declared visual reconstruction for museographic context; it is not a photograph of the original nor documentary evidence.

Image 1 of 3 · Main image
Specific historical recreation of A travelling style within an Assyrian palace, Nimrud, modern Iraq; possible Levantine production, 9th–8th centuries BCE
DECLARED VISUAL RECONSTRUCTION · EXISTING EDITORIAL RESOURCE · TRACEKEEPERS

Generated reconstruction · Declared visual hypothesis

Declared visual reconstruction for museographic context; it is not a photograph of the original nor documentary evidence.

History and context

In the palaces and storerooms of Nimrud appeared ivory plaques with sphinxes, Egyptianising figures, flowers and volutes. The visual language combines Levantine, Egyptian and Syrian repertoires: an aesthetic designed to circulate between courts.

That they are today labelled as of «Phoenician style» does not mean we know the workshop or hand that carved them. They may have reached Assyria as tribute, booty, gift or merchandise; the object retains mobility, but not its passport.

The plaque was part of a piece of furniture and only regains its original scale when imagined combined with wood, other inlays and a palatial hall. Separated in the museum, it appears as an autonomous image that never was.

Its Egyptianising repertoire functioned in an Assyrian court because the forms could change of audience. That reception explains the object's mobility, although it does not decide whether it arrived as commission, tribute, gift or booty.

Evidence and interpretation

Documented fact: Phoenician-style ivory plaques were found in Assyrian context at Nimrud and show a strong visual synthesis. Interpretation and caution: style, artisan origin and mechanism of arrival are not equivalent; tribute or booty are contextual hypotheses, not certainties for each piece. Documented expansion: The Met catalogues an ivory plaque found at Nimrud with Egyptianising figures and places it within the production termed Phoenician of the 9th–8th centuries BCE. Expanded interpretation and caution: Classifying the style does not identify a specific Levantine workshop nor the carver's biography; nor does it allow choosing for this piece between trade, tribute and looting.

Catalogue facts

Narrative date
9th–8th centuries BCE
Location
Nimrud, modern Iraq; possible Levantine production
Material
Carved ivory · pigment and metal in some sets
Context
Luxury, appropriation and circulation under Assyrian rule
Curatorial reading
The documented fact and its interpretation appear separately in the evidence block.
Evidence
Archaeological context, materiality and chronology.
Caution
Do not convert stylistic diffusion or contact into political domination.
Documentary coverage
3 museum, heritage, primary corpus or research sources for this stop.

A SHARED TOPIC, DIFFERENT MOMENTS

Objects connected through time

Follow a topic across the collections. A shared tag is a way to compare objects, not proof that one culture influenced another.

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Ivory11 dated objects

9 / 11In the centre: Ivory in Nimrud

Also connected, without a comparable date (1)

These objects are not placed after the others: an unknown date does not mean a more recent object.

A closer look

About 1 min to read · 1 section. Further reading and sources · free access. Editorial review recorded: .

A tree between two pharaonic-looking figures

The plaque 62.269.3 presents two figures on either side of a branched tree. Both wear a version of the Egyptian double crown with upright cobra, pleated skirt and ram-headed sceptre; the left-hand figure also holds a jar. Above them is a winged solar disk and a row of ten cobras crowned by disks. The Met does not identify what the other figure holds, a visible limit that should be maintained. The composition allows recognition of how regal and divine attributes were combined in just 12.4 centimetres of height, within a prestige furniture piece.

Where it is held

The Metropolitan Museum of Art

Item or group in the record · Documented collection

The holding institution is documented; public display may change. Check its official record before visiting.

Sources and references

Expand this information and consult its sources

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