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The Chaldean dynasty, also known as the Neo-Babylonian dynasty [2] [b] and enumerated as Dynasty X of Babylon, [2] [c] was the ruling dynasty of the Neo-Babylonian Empire, ruling as kings of Babylon from the ascent of Nabopolassar in 626 BC to the fall of Babylon in 539 BC.
Over the years [the Queen of the Night] has indeed grown better and better, and more and more interesting. For me she is a real work of art of the Old Babylonian period." In 2008/9 the relief was included in exhibitions on Babylon at the Pergamon Museum in Berlin, the Louvre in Paris, and the Metropolitan Museum of Art in New York. [44]
For the Neo-Babylonian kings, war was a means to obtain tribute, plunder (in particular sought after materials such as various metals and quality wood) and prisoners of war which could be put to work as slaves in the temples. Like their predecessors, the Assyrians, the Neo-Babylonian kings also used deportation as a means of control.
The Panel with striding lion (MA 31.13.1) is a panel of Neo-Babylonian glazed ceramic bricks or tiles dated to 604–562 B.C., now in the Metropolitan Museum of Art, New York. It was one of many that lined the Processional Way north of the Ishtar Gate .
Prior to the heavy use of baked bricks in the reign of Neo-Babylonian ruler Nebuchadnezzar II (605–562 BC), construction at Babylon was primarily of unbaked brick, with the occasional use of baked bricks or bitumen. [33] Kasr – also called Palace or Castle, it was the location of the Neo-Babylonian ziggurat Etemenanki of Nebuchadnezzar II ...
Ennigaldi-Nanna (Babylonian cuneiform: En-nígaldi-Nanna), [1] also known as Bel-Shalti-Nanna [a] and commonly called just Ennigaldi, [3] [4] was a princess of the Neo-Babylonian Empire and high priestess (entu) of Ur. As the first entu in six centuries, serving as the "human wife" of the moon-god Sin, Ennigaldi held large religious and ...
Mušḫuššu already appears in Sumerian religion and art, as in the "Libation vase of Gudea", dedicated to Ningishzida by the Sumerian ruler Gudea (21st century BCE short chronology). [1] [6] The mušḫuššu was the sacred animal of Marduk and his son Nabu during the Neo-Babylonian Empire.
The art of Mesopotamia has survived in the record from early hunter-gatherer societies (8th millennium BC) on to the Bronze Age cultures of the Sumerian, Akkadian, Babylonian and Assyrian empires. These empires were later replaced in the Iron Age by the Neo-Assyrian and Neo-Babylonian empires.