How Ashurnasirpal II’s Palace Reliefs Use the Concept of Alterity
The palace reliefs of Ashurnasirpal II, the king of Assyria, are a remarkable testament to the power and influence of one of the most prominent rulers of the ancient Near East. These reliefs, which adorn the walls of the king’s palace in Nimrud, are not merely decorative; they serve as a narrative tool that encapsulates the king’s vision of his empire, his achievements, and his relationship with the diverse peoples under his rule. This article explores how Ashurnasirpal II’s palace reliefs utilize the concept of alterity, that is, the portrayal of the ‘other’ in a manner that both highlights differences and underscores the king’s ability to unite and dominate these diverse groups.
The concept of alterity is evident in the reliefs through the depiction of various ethnic groups, each presented with distinct cultural attributes. For instance, the reliefs feature representations of the Hurrians, Babylonians, and Egyptians, among others, each group portrayed with its own unique attire, weaponry, and customs. This explicit differentiation between groups serves to emphasize the diversity of Ashurnasirpal II’s empire, while simultaneously reinforcing the king’s role as a unifying figure. The reliefs thus act as a powerful reminder of the breadth of the Assyrian Empire and the king’s ability to subdue and govern such a vast and varied population.
One of the most striking examples of alterity in Ashurnasirpal II’s palace reliefs is the depiction of the king’s campaigns against rebellious states. In these scenes, the Assyrian forces are often shown in the midst of defeating or capturing enemies from various regions. The reliefs provide detailed portrayals of the enemy forces, showcasing their attire, weaponry, and physical characteristics, which differ significantly from those of the Assyrians. This depiction serves to highlight the king’s prowess in subduing these diverse groups, as well as the resilience and adaptability of the Assyrian army.
Furthermore, the reliefs often include scenes of the king’s generosity and benevolence towards the conquered peoples. In these instances, Ashurnasirpal II is portrayed as bestowing gifts and rewards upon the vanquished, indicating his desire to integrate them into the empire rather than simply subjugate them. This approach is exemplified in the relief depicting the king’s distribution of gifts to the Hurrians, where he is seen presenting a bull to the leader of the Hurrian people. This act of generosity is a clear indication of the king’s intention to incorporate the conquered peoples into the Assyrian fold, thus reinforcing the theme of alterity as a means of unification.
Another important aspect of alterity in Ashurnasirpal II’s palace reliefs is the portrayal of the king’s relationship with deities from various pantheons. The reliefs frequently depict the king in the presence of gods and goddesses from Mesopotamian, Hurrian, and other regional pantheons. This portrayal suggests that the king was not only a political leader but also a religious figure who could bridge the gap between different religious beliefs and practices. By incorporating deities from various cultures into his own religious narrative, Ashurnasirpal II further solidified his position as a unifying figure in the eyes of his subjects.
In conclusion, Ashurnasirpal II’s palace reliefs effectively use the concept of alterity to portray the king’s empire and his role within it. By showcasing the diversity of his subjects and their respective cultures, the reliefs highlight the king’s ability to dominate and integrate these groups. Additionally, the portrayal of the king’s benevolence and religious inclusivity underscores his role as a unifying figure in the face of a vast and varied empire. Through the strategic use of alterity, Ashurnasirpal II’s palace reliefs serve as a powerful testament to the complexity and sophistication of his reign.
