220 dominik bonatz
either this art represents the continuation of an indigenous north syrian–
hurrian tradition or the adaptation of a Middle-assyrian influence that
retained a direct cultural efficacy at the local level.66
By contrast, the much larger reliefs that measure up to one-and-a-half
meters in height and are found on the orthostats on the northern façade
and in the entrance to the Western palace represent a further stylistic and
iconographic development of the small orthostats on the southern side.
Differences can be observed in the more even indentation of the relief
backdrop, the sharp definition of the contours of figures in relation to
the relief backdrop, and the even plane on which all the figures move.67 the
heterogeneous impression is also underscored by the balanced symmetry
of the individual orthostat blocks. the sphinxes at the entrance to the
palace are each flanked by a lion, and a hunting archer is depicted two
orthostats away from these animals. In one case, the orthostat between
the hunter and the lion bears an en face representation of the storm-god,
in the other, the orthostat shows the emblem of kneeling bull-men and a
human figure supporting the winged solar disk as a symbol of the sun-god.
this religious accent, which is reinforced by the divine caryatids in the
entrance to the building (see below), creates a dichotomy that resulted
in the term “temple palace” being introduced to the research literature
at an early stage. nevertheless, despite all references to cultic activities,68
the idea that the palace functioned as a temple can probably be excluded
since the character of the interior rooms projects a sense of secular pres-
tige. It seems more likely that the revived sculptural program on the
Kapara building was based on the idea that the ruler residing there was
legitimized by the protection and proximity of the gods.69
a prominent feature of this style of architectural sculpture is the three
statues of gods that form caryatids supporting the roof beams of the porch.
they stand upon animal bases, which were also used to elevate divine or
royal statues in other regions. But in terms of their architectural function
as the bases for anthropomorphic columns, they are without parallel. From
an iconographic perspective, the animal bases provide at least some clue
66 this argument was put forward as early as Orthmann 1971: 470f. his reference to
the evidence of Middle-assyrian art in tell Fekheriye, which is located only 2.5 km east of
tell halaf, is given extra weight by the numerous finds of Middle-assyrian and Mittanian
cylinder seal impressions during recent excavations.
67 see Orthmann 1971: 122f.
68 an altar was found in front of each of the orthostats with divine figures or symbols.
It was used either for offerings or to place a light (pucci 2008: 107f ).
69 see pucci 2008: 108f.