{"id":3044,"date":"2024-06-20T19:08:49","date_gmt":"2024-06-20T17:08:49","guid":{"rendered":"https:\/\/portale2.unime.it\/galateo\/?post_type=atlas&p=3044"},"modified":"2024-06-26T12:36:48","modified_gmt":"2024-06-26T10:36:48","slug":"naqias-bronze-relief","status":"publish","type":"atlas","link":"https:\/\/portale2.unime.it\/galateo\/atlas\/naqias-bronze-relief\/","title":{"rendered":"Naqia’s Bronze Relief"},"content":{"rendered":"\t\t
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\"\"<\/td>Object type: <\/strong>Relief<\/span>\u00a0<\/strong>
<\/strong><\/span><\/td><\/tr>
\"\"<\/td>Museum:<\/strong>\u00a0AO 20185, RMN-Grand Palais, Mus\u00e9e du Louvre<\/td><\/tr>
\"\"<\/td>Findspot:<\/span> Unknown<\/td><\/tr>
\"\"<\/td>\u00a0Culture, period:<\/span>\u00a0Neo-Assyrian<\/td><\/tr>
\"\"<\/td>\u00a0Production date:\u00a0<\/span>680-669 BCE\u00a0<\/td><\/tr>
\"\"<\/td>Material:<\/span>\u00a0Bronze<\/td><\/tr>
\"\"<\/td>

Dimension:<\/span>\u00a0
height: 33 cm
Width: 31 cm
Depth: 6,5 cm<\/p><\/td><\/tr>

\"\"<\/td>

Nonverbal Communication:\u00a0<\/span>Touching the nose, Erect posture<\/p><\/td><\/tr><\/tbody><\/table>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Description:<\/strong><\/span><\/p>

The queen Naqi\u2019a, wife of Sennacherib and mother of Esarhaddon,\u00a0<\/span>whose identity is inscribed on the gown of the figure, is involved in a ritual with the king. It is unanimously acknowledged that both the queen and the king, who is presumably Esarhaddon, are involved in \u201cmouth-washing\u201d (m\u012bs\u00a0<\/em><\/span>p\u00ee<\/em>) and \u201cmouth-opening\u201d (p\u012bt p\u00ee<\/em>) rituals, since the text inscribed on the relief describes this ritual.<\/span><\/p>

\u00a0<\/p>

The left hand is occupied by an object \u2013 a mirror for the queen, a scepter for the king \u2013 while the right hand performs the well-known appa lab\u0101nu<\/em> \u201cto stroke the nose\u201d, gesture. <\/span>The object they hold seems to be the libbi gi\u0161imarri<\/em> (\u201cpalm shoot\u201d), a cult\/cleansing instrument, which is also attested in other iconographic and textual evidence. In fact, the use of the date-palm heart (libbi gi\u0161imarri<\/em>) and the heart of a wood (libbi i\u1e63\u1e63i<\/em>) is often attested in the ritual m\u00ees p\u00ee<\/em>, which is the ritual performed by the queen and king in the bronze relief. The former, in particular, is mentioned on a list of aromatic woods used during the ritual, while the second, translated by the editors also as \u201cdate-palm heart\u201d, is encountered in the following sentence: \u201cdate-palm-\u201cheart\u201d\u2026he\/you lay down and raises his hand\u201d. The movement of the hand which holds the libbi i\u1e63\u1e63i<\/em> described in the text might recall the ritual action performed by the queen and the king, thus making them active participants and performers of the ritual.\u00a0<\/span><\/p>

\u00a0<\/p>

The queen and king are similarly represented, insofar as both possess an erect posture and a direct gaze. Also, it might be reasonable to suspect that the queen and king are standing side\u00a0<\/span>by side. In fact, Assyrian sculptors were particularly keen to manage the space between figures and individuals standing side by side were usually represented with their feet overlapping, so as to express their spatial location. A hypothetical reconstruction of the missing lower part of the bronze relief, based on Esarhaddon’s stele from Sam’al, suggests that the queen and king’s feet do not overlap, so they were presumably set in single file.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Bibliographic references:<\/span><\/strong><\/p>

Parrot A. \u2013 Nougayrol J. 1956, \u201cAsarhaddon et Naqi\u2019a sur un bronze du Louvre (AO 20. 185)\u201d, \u00a0<\/span>Syria33, 147-160.\u00a0(study)<\/span><\/p>

\u00a0<\/p>

Melville S.C. 1999, The Role of Naqia\/Zakutu in Sargonid Politics (State Archives of Assyria Studies 9), Helsinki, 49-52 (study)<\/span><\/p>

\u00a0<\/p>

Macgregor S.L. 2012, Beyond Hearth and Home: Women in the Public Sphere in Neo-Assyrian Society (State Archives of Assyria Studies 21), Helsinki, 109-117 (study)<\/span><\/p>

\u00a0<\/p>

Sv\u00e4rd S. 2015: Women and Power in the Neo-Assyrian Palaces (State Archives of Assyria Studies 23), Helsinki, 75\u201377 (study)<\/span><\/p>

\u00a0<\/p>

Portuese L. 2022: \u201cA Gender-Centered Perspective on Manners and Etiquette for Understanding the Historical Role of the Assyrian Queen\u201d, KASKAL Rivista di storia, ambienti e culture del Vicino Oriente Antico 19, 52-56 (study)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u00a9 Image credits: Mus\u00e9e du Louvre \/ Franck Raux; Reconstruction (Portuese Ludovico)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"featured_media":3046,"template":"","format":"standard","meta":[],"object-type":[56],"nonverbal-communication":[65,63,74],"class_list":["post-3044","atlas","type-atlas","status-publish","format-standard","has-post-thumbnail","hentry","object-type-wall-panel","nonverbal-communication-erect-posture","nonverbal-communication-raising-of-the-hands","nonverbal-communication-touching-the-nose","entry"],"yoast_head":"\nNaqia's Bronze Relief - Galateo<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/portale2.unime.it\/galateo\/atlas\/naqias-bronze-relief\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Naqia's Bronze Relief - 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