Representations of conceptual dimensions of conflict scenes in Sumerian art

Abstract

The present study tackled representations of conceptual dimensions of conflict scenes in Sumerian art by analyzing the religious, political, environmental, ideological, and social dimensions from which the conflict scene emerged. That was represented in the aesthetic structure of cylinder seals, obelisks, stone panels, and statues during the Sumerian era. In section one, the two researchers sought to clarify the research problem, significance, and the objectives. Section two includes a presentation of the theoretical framework and previous studies. It consists of two subsections. In the first, the conflict is conceptually proven. As for the second, it discusses conflict as an approach in ancient Sumerian art. Section three is devoted to presenting the research community, the research tool that includes collecting data, and samples of (3) sculptural works that covered the limits of the present study. The two researchers intentionally adopted the descriptive analytical approach for the purpose of analyzing the samples. Section four includes the results of the present study, including:

1. The scenes of conflict were manifested in the ability of the Sumerian artist to adopt the realistic method in the embodiment of human bodies with political dimensions that escalated from their desired essential connotations.
2. Sumerian anthropomorphic and prominent art expressed the artistic feelings formed in the Sumerian artist's thought through the diversity of topics, which carry religious and political dimensions that represent the social structure of the Sumerians.

This section also includes the conclusions through which it was possible to achieve the objectives of the present study through the tool designed by the two researchers, including:

1. In its many forms, Sumerian art embodied religious thought and political dimensions by referring them to formal systems of aesthetic value full of coding directed towards the absolute and invisible powers.
2. The intellectual reflections of the Sumerian sculptor have contributed to the diversity of conflict scenes at the level of stereoscopic or prominent sculpture.
3. There were various technical and directorial treatments in an attempt to portray and represent these intellectual reflections and referred them to a symbolic sign that has a tangible physical presence.

Finally, some recommendations, suggestions, and references are presented.