art 249
executed almost completely in the round, and the courtiers on the orthos-
tats at hilani III in samʾal (pl. Iv). In a characteristic gesture, these figures
hold the corner of the cloak that is draped over their right shoulders.216
the stylistic resemblance to the sculptures of the youngest stylistic phase
in samʾal provides an argument for dating the “roundcheeked and ringlet-
ted” group to the second half of the eighth century B.c., while the group
sW 7, based on the similarities to the reliefs from sakçagözü, can be
assigned to the first half of the same century.217
the wide range of motifs and the assignment of the above-mentioned
ivory finds from Zincirli to temporally distinct stylistic phases can be taken
as confirmation that a regional style existed in northwest syria that was
probably centered in samʾal.218 In addition, this group can be regarded as
a typical artistic phenomenon in the aramaean centers of syria. regional
styles developed special characteristics in the interplay between minor
and monumental art and in exchanges with neighboring cultures such
as those of the assyrians and phoenicians. aramaean art was charac-
terized to a greater degree by the fragmentation of its artistic language
than by its homogeneity. But the fact that ivories, in particular, emerged
as a typical genre of art in the aramaean regions219 was a result of the
growing need for prestigious objects in the 1st millennium, the specializa-
tion of workshops, and the availability of precious resources. all of these
factors—which must be studied in greater detail—can only be explained
against the backdrop of the far-reaching international integration of the
aramaean city-states on both an economic and political level.
4.3 Metal WorksIt is widely recognized that north syria was a bronze-working center in
the early 1st millennium B.c.220 a large number of metal luxury goods
originated in north syrian workshops during this time and circulated
across extensive areas of western asia and the aegean. they include
bronze bowls, cauldrons, equestrian ornaments, and decorated plaques.
216 compare e.g., herrmann 1986: no. 891 pl. 230 (pl. XXv) with Orthmann 1971: Zincirli
h/4–9; see also section B.1.1 in this overview.
217 Wicke 2005: 85, 91–92 n. 137. remember, however, the difficulties to date the reliefs
from sakçagözü (see above, introduction to chapter 2.1).
218 see primarily Wicke 2005: 95–96, based on Genge 1979: 149–151.
219 so far the only Luwian center that has been suggested is carchemish (Winter 1989:
331 and ead. 2005: 34), but it is only likely if the “flame and frond” group dating to the
9th century originated there rather than in Guzana (tell halaf ). On this debate, see n. 200.
220 Winter 1988 and Mazzoni 2000a: 39.