Art/ Collection/ Art Object
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Ivory fragment

Period:
Neo-Assyrian
Date:
ca. 8th–7th century B.C.
Geography:
Mesopotamia, Nimrud (ancient Kalhu)
Culture:
Assyrian
Medium:
Ivory
Dimensions:
0.57 x 0.71 in. (1.45 x 1.8 cm)
Classification:
Ivory/Bone-Sculpture
Credit Line:
Rogers Fund, 1952
Accession Number:
52.23.9
Not on view
This small ivory fragment is rounded in shape and was probably blackened through exposure to fire when the palace complexes at Nimrud were sacked during the final defeat of Assyria at the end of the seventh century B.C. It is incised with overlapping triangles filled with cross-hatched decoration and outlined by a single-line border. A hole drilled through the piece horizontally may have allowed it to be attached to another element by a nail or peg. Carved ivory pieces such as this were widely used in the production of elite furniture during the early first millennium B.C. They were often inlaid into a wooden frame using joinery techniques and glue, and could be overlaid with gold foil or inlaid with colored glass or stone pieces to create a dazzling effect of gleaming surfaces and bright colors. This piece is too broken to reconstruct its original appearance, although its cylindrical form suggests it may have formed part of a decorative column.

Built by the Assyrian king Ashurnasirpal II, the palaces and storerooms of Nimrud housed thousands of pieces of carved ivory. Most of the ivories served as furniture inlays or small precious objects such as boxes. While some of them were carved in the same style as the large Assyrian reliefs lining the walls of the Northwest Palace, the majority of the ivories display images and styles related to the arts of North Syria and the Phoenician city-states. Phoenician style ivories are distinguished by their use of imagery related to Egyptian art, such as sphinxes and figures wearing pharaonic crowns, and the use of elaborate carving techniques such as openwork and colored glass inlay. North Syrian style ivories tend to depict stockier figures in more dynamic compositions, carved as solid plaques with fewer added decorative elements. However, some pieces do not fit easily into any of these three styles. Most of the ivories were probably collected by the Assyrian kings as tribute from vassal states, and as booty from conquered enemies, while some may have been manufactured in workshops at Nimrud. The ivory tusks that provided the raw material for these objects were almost certainly from African elephants, imported from lands south of Egypt, although elephants did inhabit several river valleys in Syria until they were hunted to extinction by the end of the eighth century B.C.
1951, excavated by Max Mallowan, on behalf of the British School of Archaeology in Iraq; ceded in the division of finds to the British School of Archaeology in Iraq; acquired by the Museum in 1952, as a result of its financial contribution to the excavations.

“Recent Acquisitions: 1952.” The Metropolitan Museum of Art, New York, February 6, 1952–May 1, 1952.

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