DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.32867#0452
420 DJEBEL HAURAN
drapery falls from the shoulders to the feet, caught in by a narrow girdle, and parts on
the left side, leaving the leg, the thigh of which is preserved, free from the folds, which
are carried backward in heavy rolls on either side.
The left hand seems to hold the upper part of the
drapery away from the hip. It will be seen that the
treatment of the drapery is much more crude than
that in the figure at il-Haiyat, and that the technique
throughout is lacking in artistic finish.
A bas-relief in Shehba, also photographed by Dr.
Littmann, shows a seated female figure holding a
musical instrument in her left hand, and playing it
with her right. A suggestion of the features is still
preserved, and the hair may be seen falling in ring-
lets on either side of the face. The figure is com-
pletely draped, even to sleeves, but the pose is
cramped ancl ungainly. The instrument was appa-
rently stringed, but its
actual form is difficult to
determine. It was tall,
restingupon the knee and
extending as high as the top of the head. A flat upright
piece, curved slightly outward at the bottom,constituted the
main portion of the instrument, and the strings apparently
extended from the bottom of this to the top, forming a
sort of harp.
A piece of sculptured frieze built into a modern wall,
though of crude workmanship, is not without interest.
The subject is not unlike that of certain classic reliefs and
paintings that depict scenes from the theater. In the
middle is a fat seated figure, a man with a long beard,
nude above the waist, but with drapery falling about the
limbs and over the bench upon which the figure is seated.
In front of this figure, to the spectator’s right, is apparently
a circular altar, on the opposite side of which stands another male figure with a beard,
also fat and drapcd from the waist to the knees. This figure places one hand upon
the altar and the other upon his hip, and turns his head away from the altar. Above
the altar hangs a bit of drapery which the seated figure is drawing aside as if to dis-
close the other figure who turns his face away. To the left of the bench upon which
the fat figure sits, one may see a large bird half flying, half running along the ground.
Then comes a winged figure in long drapery, running violently toward the seated
Relief of a musician at Sliehba.
TorsG at Shehba.
drapery falls from the shoulders to the feet, caught in by a narrow girdle, and parts on
the left side, leaving the leg, the thigh of which is preserved, free from the folds, which
are carried backward in heavy rolls on either side.
The left hand seems to hold the upper part of the
drapery away from the hip. It will be seen that the
treatment of the drapery is much more crude than
that in the figure at il-Haiyat, and that the technique
throughout is lacking in artistic finish.
A bas-relief in Shehba, also photographed by Dr.
Littmann, shows a seated female figure holding a
musical instrument in her left hand, and playing it
with her right. A suggestion of the features is still
preserved, and the hair may be seen falling in ring-
lets on either side of the face. The figure is com-
pletely draped, even to sleeves, but the pose is
cramped ancl ungainly. The instrument was appa-
rently stringed, but its
actual form is difficult to
determine. It was tall,
restingupon the knee and
extending as high as the top of the head. A flat upright
piece, curved slightly outward at the bottom,constituted the
main portion of the instrument, and the strings apparently
extended from the bottom of this to the top, forming a
sort of harp.
A piece of sculptured frieze built into a modern wall,
though of crude workmanship, is not without interest.
The subject is not unlike that of certain classic reliefs and
paintings that depict scenes from the theater. In the
middle is a fat seated figure, a man with a long beard,
nude above the waist, but with drapery falling about the
limbs and over the bench upon which the figure is seated.
In front of this figure, to the spectator’s right, is apparently
a circular altar, on the opposite side of which stands another male figure with a beard,
also fat and drapcd from the waist to the knees. This figure places one hand upon
the altar and the other upon his hip, and turns his head away from the altar. Above
the altar hangs a bit of drapery which the seated figure is drawing aside as if to dis-
close the other figure who turns his face away. To the left of the bench upon which
the fat figure sits, one may see a large bird half flying, half running along the ground.
Then comes a winged figure in long drapery, running violently toward the seated
Relief of a musician at Sliehba.
TorsG at Shehba.