DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.4920#0007
INTRODUCTION CONTINUED.
woods, such as cypress and cedar, are intended,—woods found in the palace of Nineveh.
Great difficulty exists about the identification of the names of the Cypriote kings.
According to some they are ^Egisthus, King of Idalium; Pythagoras, King of Chytroi;
Kin . . . King of Soli; Ithuander, King of Paphos; Erisu, King of Salamis; Damastes,
King of Curium; Karmes, King of Tamassus; Damos, King of Ammachosta; Unasagus,
King of Lidini; Puzus, King of Aphrodisia;1 other interpretations give Pylagoras, or
Pisagoras, as King of Chytroi; Kiisu, as King of Soli; Eteandros, of Paphos; Unasagos,
of Ledron; and Damos, of Karti-hadasti, the Phoenician term for Neapolis. The names
of the cities Idalium, Chytroi, Salamis, Paphos, Curium, are Greek, with one exception,
and so are the names of the kings; but the name of Kitium has not been read,
although it is impossible to suppose so important a town was omitted.3 The term
applied to Cyprus, Iah-nagi-Yatnan, appears to allude to its belonging to the land of the
Ionians. The submission of the same princes was renewed to Assurbanipal, and
the same names appear in both lists. If, however, Esarhaddon associated Assurbanipal
in the kingdom, it is possible that the lists refer to the same tribute from
Cyprus, which had probably taken place about B.C. 671 to 668. After this
period no further notice occurs of Cyprus in the annals of Assyria, and the withdrawal
of the Assyrian power left the country in the hands of its native rulers. The names
of the Phoenician rulers are not known, but the island fell under the influence of the
Babylonians. This Assyrian and Babylonian period had a marked influence on the arts
of Cyprus, from which the shapes and subjects of the cylinders seem to be directly de-
rived, and the beard and caps of some of the sculpture indirectly imitated Phoenician art,
having followed the vicissitudes of Asiatic art, and copied its contemporaneous moods.
The conquest of Cyprus, by Amasis II. of Egypt, B.C. 569, marked another epoch in
the arts of Cyprus, and the sculpture of Egyptian style is probably to be referred to this
1 Smith's Hist. Assyria, p. 130.
* Schrader, Inschrift Tiglath Pileser II., d. Assarhaddon, und Assurbanipal; Berlin Akadem, toSo, p. 32-34,
cf. Delitzsch, Wo lag das Paradies, pp. 291-294.
woods, such as cypress and cedar, are intended,—woods found in the palace of Nineveh.
Great difficulty exists about the identification of the names of the Cypriote kings.
According to some they are ^Egisthus, King of Idalium; Pythagoras, King of Chytroi;
Kin . . . King of Soli; Ithuander, King of Paphos; Erisu, King of Salamis; Damastes,
King of Curium; Karmes, King of Tamassus; Damos, King of Ammachosta; Unasagus,
King of Lidini; Puzus, King of Aphrodisia;1 other interpretations give Pylagoras, or
Pisagoras, as King of Chytroi; Kiisu, as King of Soli; Eteandros, of Paphos; Unasagos,
of Ledron; and Damos, of Karti-hadasti, the Phoenician term for Neapolis. The names
of the cities Idalium, Chytroi, Salamis, Paphos, Curium, are Greek, with one exception,
and so are the names of the kings; but the name of Kitium has not been read,
although it is impossible to suppose so important a town was omitted.3 The term
applied to Cyprus, Iah-nagi-Yatnan, appears to allude to its belonging to the land of the
Ionians. The submission of the same princes was renewed to Assurbanipal, and
the same names appear in both lists. If, however, Esarhaddon associated Assurbanipal
in the kingdom, it is possible that the lists refer to the same tribute from
Cyprus, which had probably taken place about B.C. 671 to 668. After this
period no further notice occurs of Cyprus in the annals of Assyria, and the withdrawal
of the Assyrian power left the country in the hands of its native rulers. The names
of the Phoenician rulers are not known, but the island fell under the influence of the
Babylonians. This Assyrian and Babylonian period had a marked influence on the arts
of Cyprus, from which the shapes and subjects of the cylinders seem to be directly de-
rived, and the beard and caps of some of the sculpture indirectly imitated Phoenician art,
having followed the vicissitudes of Asiatic art, and copied its contemporaneous moods.
The conquest of Cyprus, by Amasis II. of Egypt, B.C. 569, marked another epoch in
the arts of Cyprus, and the sculpture of Egyptian style is probably to be referred to this
1 Smith's Hist. Assyria, p. 130.
* Schrader, Inschrift Tiglath Pileser II., d. Assarhaddon, und Assurbanipal; Berlin Akadem, toSo, p. 32-34,
cf. Delitzsch, Wo lag das Paradies, pp. 291-294.