DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1118#0196
54S
WOUNDED LION MOTIVE
Fig. !
Wounded Lion Relief
Kuyunzik.
Nimrud : Palace of
with arrows, nor, indeed, has the paralysing effect of the perforation of tl
dorsal vertebra ever been more powerfully brought before the eye than in th
grimly pathetic portrayal of the dying lioness. But neither in that, nor ^
the fellow relief of the
lion pierced through
his shoulder to the
heart, and with his life
blood pouring from
his open mouth, (Fig.
510) is there any at-
tempt of the great
beast to pull out the
shaft. This realistic
gesture, with its ac-
companying bodily
distortions, though it
suited the sensational
spirit of the Minoan
artist, in reality detracts from the dignity of the
scene.
This must not be taken to call in question the
conclusion that much of the naturalistic inspiration
of the. great palatial style of the Assyrian kings
was due to Late Minoan influence. In Hellenic
hands, at a later date, the same theme as that illus-
trated by the lion relief from the Palace of Kuyunzik
(Fig. 510) is still further simplified—in accordance
with less sensational methods—by the elimination of
Tradition the lelhal shaft it lf Th jnfluence 0f an Assyrian Fig. oil. Wounbed
in later J T ^,.wv,th Wingld
model of the kind on the intaglio (Fig. 511) > can p1™'„N Onyx Sard"'
hardly be doubted. The lion's whole pose, leaning NYX Intaglio of Cm*
forward on his fore-legs, with head lowered and open SICAL GRttK
jaws, is practically identical, though there is neither arrow in his s ^
nor blood pouring from his mouth, and the idea of the extreme »
still conveyed. The work itself—of a style succeeding that o _
Italian scarabs—in its strength and simplicity is still by a- ■ .-■ a
but the winged disk above brings the subject into an Oriental le <■
f tire Tharr°
1 A.E. Collection, formerly Greville. the same position on scarabs o - 0f
2 This symbol is of frequent occurrence in series. It is also found °
Greek
Art.
WOUNDED LION MOTIVE
Fig. !
Wounded Lion Relief
Kuyunzik.
Nimrud : Palace of
with arrows, nor, indeed, has the paralysing effect of the perforation of tl
dorsal vertebra ever been more powerfully brought before the eye than in th
grimly pathetic portrayal of the dying lioness. But neither in that, nor ^
the fellow relief of the
lion pierced through
his shoulder to the
heart, and with his life
blood pouring from
his open mouth, (Fig.
510) is there any at-
tempt of the great
beast to pull out the
shaft. This realistic
gesture, with its ac-
companying bodily
distortions, though it
suited the sensational
spirit of the Minoan
artist, in reality detracts from the dignity of the
scene.
This must not be taken to call in question the
conclusion that much of the naturalistic inspiration
of the. great palatial style of the Assyrian kings
was due to Late Minoan influence. In Hellenic
hands, at a later date, the same theme as that illus-
trated by the lion relief from the Palace of Kuyunzik
(Fig. 510) is still further simplified—in accordance
with less sensational methods—by the elimination of
Tradition the lelhal shaft it lf Th jnfluence 0f an Assyrian Fig. oil. Wounbed
in later J T ^,.wv,th Wingld
model of the kind on the intaglio (Fig. 511) > can p1™'„N Onyx Sard"'
hardly be doubted. The lion's whole pose, leaning NYX Intaglio of Cm*
forward on his fore-legs, with head lowered and open SICAL GRttK
jaws, is practically identical, though there is neither arrow in his s ^
nor blood pouring from his mouth, and the idea of the extreme »
still conveyed. The work itself—of a style succeeding that o _
Italian scarabs—in its strength and simplicity is still by a- ■ .-■ a
but the winged disk above brings the subject into an Oriental le <■
f tire Tharr°
1 A.E. Collection, formerly Greville. the same position on scarabs o - 0f
2 This symbol is of frequent occurrence in series. It is also found °
Greek
Art.