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Phoenician and North Syrian Ivory Carving in Historical Context: Questions of Style and Distribution*
Published online by Cambridge University Press: 07 August 2014
Extract
Ivory as a material has a unique and fascinating appeal by virtue of its rich warm colour and sheen. Since very early times, ivory has been synonymous with luxury, as witnessed in the Old Testament reference to Ahab's “house of ivory”, the epitome of luxurious living; in Amos' imprecation against the rich “that lie upon beds of ivory”; and in Ezekiel's lament for Tyre, perfect in beauty, where the very benches are made of ivory. In addition, we are told that Solomon's royal throne was made of ivory, commissioned from Phoenician craftsmen who excelled in this art. Finally, the identification of ivory with luxury and hence corruption is clear in the Homeric allusion to the “Gate of Ivory”, through which dreams pass that mislead.
The discovery of actual ivory objects more-or-less contemporary with the literary references during excavations of the Assyrian palaces at Nimrud in the mid-nineteenth century thus engendered great excitement. The pieces were not only beautiful in themselves; they also brought the ancient traditions to life.
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- Copyright © The British Institute for the Study of Iraq 1976
Footnotes
I Kings22:39; Amos6:4; and Ezekiel27:6.
References
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37 Mallowan and Herrmann, SW7, nos. 2, 3, 21, 22, 46 and 66, as compared with nos. 1 and 65.
38 Mallowan, N&R II, Figs. 504 and 465, resp. I would like to express here my gratitude to Professor Edith Porada, whose initial observations on the Phoenician sphinx provided the stimulus to make this comparison.
39 Cf. Orthmann, USK, Pls. 64b and 64d (Zincirli); Pl. 50b (Sakçe Gözü).
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45 Hayes, W. H., The Scepter of Egypt, Vol. I (New York, 1953), Fig. 150Google Scholar. In fact, Barnett has very aptly suggested (PEQ, 1939, 16Google Scholar) that the use of polychrome inlay in Phoenician ivories must be a further reflection of ties with Egypt, specifically indebted to the techniques used in inlaid jewellery, as the effect of the finished pieces must have been very much the same in the two media, (cf., for example, our Pl. IVb and c.)
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47 I refer in particular to the trapezoidal piece of embossed gold foil from Tyre (Frankfort, H., Art and Architecture of the Ancient Orient (Baltimore, 1958), Fig. 69)Google Scholar, which was clearly made in the same workshop as a number of decorated gold foil pieces from the tomb of Tutankhamon at Thebes, as well as to the letters of the kings of Tyre and Byblos found at Amarna which make these connections explicit (cf. Mercer, S. A. B., ed., The Tell el-Amarna Tablets (Toronto, 1939), letters 146–155, 68–92 and 103–38)Google Scholar.
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50 This raises the question of the possibility of establishing a relative chronology for Phoenician art as it becomes more spatially balanced, since we really have so few excavated pieces upon which to base a firm sequence. This is, of course, beyond the scope of the present study, but it might be possible to establish, for example, that the more egyptianizing pieces, like metal bowls from the Etruscan tombs, are indeed later than some of the Phoenician bowls from Nimrud, which show more crowded figures and occasional motifs similar to North Syrian work.
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55 For example, alabaster vases found at Ras Shamra (Schaeffer, C. F. A., Ugaritica III (Paris, 1956), 164–226 and Figs. 118–204Google Scholar), and Egyptian elements on otherwise Syrian-style cylinder seals from Alalakh (Woolley, C. L., Alalakh (Oxford, 1955), Pls. LX:12A, LXIII:64 and LXVI:135)Google Scholar. In any event, it had been on the basis of such details on the Loftus ivories that W. Ll. Brown had pointed out in his review of Barnett, CNI (in PEQ, 1958, 65–9Google Scholar), that it is an oversimplification to state that there is no Egyptian influence in the Syrian group; it is rather a question of degree in relation to the Phoenician group.
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68 Although the dating of the shrine in which the Sarepta ivory has been found is not secure, it has been tentatively set at the eighth–seventh century B.C. on the basis of the objects found within (cf. Pritchard, J. B., Sarepta: A Preliminary Report on the Iron Age (Philadelphia, 1975), 40Google Scholar). As support for this, and quite consistent with the picture which we wish to establish here, Pritchard has noted that the best stylistic parallel for the Sarepta head comes from ivory carvings of Phoenician style found at Khorsabad (ibid., 26–8, with reference to Loud, and Altman, , Khorsabad II, Pl. 52 and Figs. 42 and 43Google Scholar).
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