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The reliefs from the palace of King Assurnasirpal II at Nimrud play an important role in portraying the power and importance of the Assyrian king These reliefs are similar to other Assyrian reliefs in terms of their purpose however there is a contrast in the methods used to glorify the king By examining such factors as style iconography and historical significance we find many similarities and differences between the ceremonial reliefs and the more common reliefs depicting war and hunting The reliefs belonging to the sacred or ceremonial category consist of panels depicting a sacred tree a human headed genius fertilizing a sacred tree a griffin fertilizing a sacred tree and a scene of King Assurnasirpal whose name comes from the god Assur followed by a winged genius Dating to about 870 BC these reliefs were originally located in the antechamber to the royal throne hall and in the living room where it would have been viewed by distinguished guests Because of their location and larger than life size the reliefs instill in the beholder a sense of awe and reverence for the king Art History Anthology 28 Moreover the reliefs overwhelm the viewer by depicting the kings power and god-like divinity through propagandistic iconography and stylization To portray the kings god-like divinity the reliefs represent the deities and Assurnasirpal in a similar manner First of all hierarchic scale is almost absent since all the figures are closely related in size with Assurnasirpal being only slightly shorter than the deities In historical context this shows that Assyrian kings were closely associated with deities but were not considered gods themselves This lack of hierarchic scale is also seen in the Lion Hunt of Assurbanipal where king Assurbanipal is shown slightly larger than his servants Secondly the deities and Assurnasirpal are similar in stance and stylization All the figures have their head and legs shown in profile while the torso is shown halfway frontal In addition the
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