Imaginary Bas-Reliefs of the Ancient Near Eastern Based on Stamp and Cylinder Seals

Imaginary Bas-Reliefs of the Ancient Near Eastern Based on Stamp Seals and Cylinder Seals

This catalog is in French, titled "Bas reliefs imaginaries de I'ancien orient d'apres les cachets et les sceanux-cylinders", translated reads, "Imaginary Bas-Reliefs of the Ancient Near East Based on Stamp and Cylinder Seals". It documents a major Near Eastern cylinder seal exhibition held at the Hotel de la Monnaie in Paris from June to October 1973.

When I first stumbled onto this catalog it was not real clear how it would offer a lot of additional information to a few other books I already have. Like Dominique Collon's "First Impression, Cylinder Seals in the Ancient Near East", Barbara Porters, "Old Syrian Popular Style Cylinder Seals" and Briggs Buchanan's, "Early Near Eastern Seals in the Yale Babylonian Collection". With so many other scholarly publications readily available online, it takes something especially unique for me to spend additional money on publications in physical book form, which I much more prefer. 

The work featured in this catalog is by the French archaeologist Pierre Amiet, an authority on ancient Near Eastern glyptic art, with a preface by the distinguished Assyriologist Jean Nougayrol. Because it was commissioned by the French state and published by the Imprimerie Nationale for an exhibition hosted in Paris, no official English translation was ever produced. This 204-page softcover volume includes 300 black and white illustrations detailing the intricate iconography of ancient Near Eastern stamps and cylinder seals covering a 3000-year chronological sweep of the entire ancient Near East to include Mesopotamia, Akkad, Assyria, Babylon, and Persia. 

What makes it unique in comparison to the above references is how it provides far more granular research on regional style. Bas-reliefs imagery is distinct from the above works due to its innovative exhibition focus and specialized photography, rather than purely serving as a text-based regional typology or comprehensive museum collection log. In comparison this catalog offers a few unique elements. 

The core value of this Near Eastern cylinder seal catalog lies in its method for historical presentation. For the 1973 Paris exhibition, curator Pierre Amiet pioneered a technique of matching small glyptic artifacts with massive, monumental photographic blow-ups. The catalog illustrations reflect a unique framing, visually treating Near Eastern cylinder seal roll outs with stark lighting, dramatic contrast, and macro-detail usually reserved for full-scale stone palace wall reliefs.

While standard references like the above-mentioned approach specific frameworks, each has a different focus. Collon focuses heavily on chronological development, social administration, use-cases and trade history. Porter on tight, technical typologies, specific workshop carving traits and regional distribution of specific eras. Buchanan is strictly a highly detailed, systematic collection prioritizing object provenance and specific archival tracking. Pierre Amiet's Bas-reliefs imaginaries sidestep administrative history to present a singular visual essay on how micro-craftsmen conceptually scale art. It analyzes the compositions strictly as "hidden" large scale monument murals that happened to be trapped on modern thumb sized stones. The catalog acts more like a vintage art-direction supplement, a visual exploration of glyptic craft rather than a text-heavy reference book for parsing out workshop variations.

The operational difference between Collon's methodology in "First Impressions, Cylinder Seals in the Ancient Near East" and Pierre Amiet's framework in "Bas-Reliefs Imaginary" is how they break down specific iconographic motifs. While Collon treats motifs as a functional diagnostic code, Amiet treats it as a structured monumental composition. 

A couple of examples. "The Presentation Scene" that typically shows a worshiper or lesser official being led by a personal protective deity before a major seated god.

"The Master of Animals motif" depicting a central hero, king, or composite figure standing between and grasping two confronted animals or monsters.

Collon reads the seal like a document, a presentation scene or animal battle that provides a visual signature used to identify a specific century, workshop or merchant rank. Amiet views the seal like a temple wall, a presentation scene is an exploration of hierarchical perspective, while a Master of Animals is an experiment in capturing balanced muscle tension within a miniature frame.

I really would like to have added a couple of actual photo examples side by side and give detailed descriptions for each Near Eastern cylinder seal from both Dominiqe Collon and Pierre Amiet. Since the catalog is in French, it is more difficult than I thought this would be. So, I really am going need to figure out how to get the catalog translated so I can better navigate it. 

Near Eastern Old Syrian Popular Style Cylinder Seal Workshops

 It's Early in the morning, a bit bored so going to share a little about "style" and The Green Jasper Workshop of ancient Northern Syria. 

Having several years lapidary experience and shop owner, most notably with high end jaspers and agates, I really appreciate and am in awe of ancient Near Eastern cylinder seal artisan's and as well, more recent 18th and 19th century Chinese lapidaries. I actively research my Syrian ancestry, can't ignore and do acknowledge that somehow that ancestry sees this along with my interest in Early Syrian Gnosticism. In turn, not only guided me to continually learn more about these Near Eastern cylinder seal treasures but also validated that to me by finding a way of gifting a first cylinder seal to me that I wear daily as my own personal and yes, "magical amulet".

In regard to "style", it really is important to learn about different workshops and the artisan's methods and techniques. I can relate to and appreciate what is meant by "recognizing style" and not just in regard to ancient Near Eastern lapidary cylinder seal workshops. Having several years' experience with Chinese antiques I enjoy researching and deciphering "styles" in paintings, calligraphy and motifs for Chinese antiques of different mediums. This has all somehow come full circle for what is now a sincere interest in Near Eastern cylinder seals, especially those of the Old Syrian Popular Style. 

There are multiple opinions related to understanding "style", I would like to share a couple. One by Oscar White Muscarella. "Few students learn what to look for (they look but do not see), or how to study artifacts. Many are not taught to perceive the conceptual difference between the components of a scene, the iconography or subject matter, and its style. In fact, few learn about style in the first place. Style (a word - even non-art historians - claim to understand but stutter when asked to define) can be understood here in simple and material terms to mean at the least for how particular polities/peoples uniquely depicted, executed and ordered all the elements and features chosen for representation - body parts, posture, clothing, motifs, material realia, etc., and exactly how they represent these in specific contexts and ambiance. Methods of execution and manufacture must be comprehended and how this changed over time. Sensitivity to style also means recognizing what may or may not be uncanonical, borderland attributes, such as so-called provincial or peripheral styles and workmanship".

Another, in an article by Irene Winder, "The Affective Properties of Styles". "Much of what one can do with style depends upon how one defines style, but rather a range of operative definitions varying with user and analytical task to be performed. For my purposes, I would take the position that once there is anything in the work, we can call form, then there is style. Style is a function of a period, place, workshop, or hand. It is inherent in the work, and it is thus what is apparent".

A little about the "Green Jasper Lapidary Workshop", Middle Bronze Age. The following is a combination of Barbara Porter's, "Old Syrian Popular Style Cylinder Seals", and Dominique Collon's, "First Impressions". 

For Syrian cylinder seal workshops of the Middle Bronze Age each city or court had its own seal cutter, and the profession would have been passed down from father to son or master to apprentice, and in that process, some created by the same hand. North Syrian workshop had a distinct regional style that emerged primarily from craft hubs such as Aleppo, Tell Halaf, Carchemish and Arslan Tash that blended local Levantine traditions with Anatolian (Hittite), Mesopotamian and Egyptian influences. 

Dominique Collon assessed "The Green Jasper Cylinder Seal Workshop" by the type of stone, subject matter, compositional similarities, style, and the operative elements in defining the workshop. Beatrice Teissier explains some of the variety of perceptions of workshops in Middle Bronze Age Syria as, "as a group of seals showing not only homogeneity of style but also of detail. A distinction should be made between seals that can be attributed to workshops within a defined time period within the Middle Bronze Age and the exceptional Green Jasper Group which lasted with differing styles into the Late Bronze Age, but which nevertheless maintained a tradition of working with jasper".  

There is also a great read titled, "A Seal Impression of the Green Jasper Workshop from Tell el Daba" by Karin Kipetzky and Manifred Bietak. 

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Near Eastern Cylinder Seals and Late Antiquity Gnostic Mysticism as Amulets

Near Eastern Cylinder Seals and Late Antiquity Gnostic Mysticism as Amulets

I am a novice collector of Near Eastern cylinder seals and also a follower of early Gnostic texts. I was taken by surprise, stumbling onto a connection between 3rd through 1st CE Gnostic mysticism and 1st through 3rd millennium BCE Near Eastern cylinder seals while researching my very first seal, a 1st millennium Mesopotamian cylinder seal depicting a sacred ceremonial banquet scene.    

Although this seal was manufactured centuries BCE before Gnosticism formally emerged, the Gnostics of 3rd through 1st centuries CE actively adopted, reinterpreted and transformed this exact Mesopotamian astral iconography into their own mystical systems.

Here, the transformation of the astral deities into the "Archons" is shown in the celestial symbols, the Winged Solar Disk, the Crescent Moon, and the Star of Venus are protective, benevolent deities overseeing a sacred banquet. By the 1st millennium CE, early Gnostic sects such as the Valentinians and Basilidians flipped this Mesopotamian worldview upside down. The planetary and star gods of old Babylon and Assyria were re-conceptualized by the Gnostics as Archons, seven tyrannical, cosmic rulers who created the material world to trap human souls. In Gnostic texts like the Apocryphon of John, the Archons are frequently given names derived straight from Near Eastern and Semitic theology, such as Sabaoth and Adonai. 

The cosmic canopy on this seal became to a Gnostic, the physical boundary of the material prison. One of the most stunning direct parallels involves the Spade of Marduk floating behind the seated figure's head. In late Babylonian theology, Marduk was the "Saviour God" who defeated the primordial dragon of chaos (Tiamat), organized the universe and acted as a mediator between humanity and the supreme heavens. Early Gnostic thinkers heavily drew upon the specific Mesopotamian "Saviour" archetype when formatting their view of the Logos / Christ. In Gnostic texts, Christ is the divine messenger who descends through the realms of the Archons to bring gnosis (knowledge) and liberate the soul. The positioning of a savior's standard right next to an illuminated, seated soul is a perfect visual precursor to Gnostic ascent narratives. 

In Gnostic thought, the supreme divine realm beyond the physical stars is called the Pleroma (Fullness). Gnostic rituals frequently centered around symbolic, communal spiritual banquets. Sharing a drink from a singular, central vessel through tubes represented the complete unification of the spiritual sparks within believers, echoing back to the old Sumerian and Babylonian concepts of using a shared vessel to seal an eternal, sacred covenant.

One of the most concrete, physical connections lies in the evolution of lapidary art itself. The exact technical craftsmanship possessed, using cutting wheels and drills on hard chalcedony, agate and jasper passed down directly into the Roman Era. During the 2nd and 3rd centuries CE, Gnostics manufactured thousands of intaglio talismans known to archaeologists as Gnostic Magical Gems or Abraxas Stones. Just like this seal, these gems were carved in reverse from chalcedony and jasper. They featured the exact same layout formulas, a central divine entity like the rooster-headed god Abraxas or the lion-serpent Chnuphis surrounded by floating astral stars, crescent moons and sacred protective standards. One of many references for engraved protective Gnostic amulets and symbolism is "The Gnostics and Their Remains, Ancient and Mediaeval" by Charles King, 1887.

While researching another Near Eastern cylinder seal, I was again surprised to stumble onto a Gnostic related cylinder seal. A 3rd millennium BCE seal in Dominique Collon's "First Impressions" that is described as having been inscribed again later, 3rd or 4th century AD with Gnostic text on both ends of this repurposed 3rd millennium BCE cylinder seal, transcribing two primary magical formula strings widely used as protective talismans in Late Antiquity. The Greek text, ΑΒΡΑΣΑΞ  at the top end written clockwise along the outer edge, translated meaning, Abrasax (or Abraxas). A supreme mystical name in Gnostic cosmology representing the ruler of the 365 heavens that numerically add up to 365 corresponding days of a solar year. The inscription at the bottom end, followed by additional magical characters or vocals, translated means lao. This is the Greek Gnostic magical vocalization for the Hebrew divine name, Yahweh (Jehovah), frequently invoked on protective amulets and magical gems during the 3rd and 4th centuries CE to ward off evil spirits and illness. 

As detailed in Collon's work, this artifact is a fascinating example of an ancient heirloom being reused millennia later. A Gnostic or magical practitioner in the Roman-era Near East discovered this ancient Mesopotamian cylinder seal, capitalized on its ready-made cylindrical form and bored center. Rather than rolling it into clay to leave an impression, the practitioner added the Greek letters to both ends so the seal could be worn or carried vertically as a personal, highly potent protective amulet.

We can only guess, but taking a stab at connecting late-Roman Gnostic magical practice to this early Mesopotamian Akkadian scene requires viewing the seal through the eyes of a 3rd or 4th century CE magician. They knew nothing of the actual Sumerian myths of Enki or the Zu-bird, but they were experts in interpreting cosmic imagery to serve as a visual shorthand for their own spiritual battles. The magical practitioner likely rationalized the alignment between the cylinder's relief carving and the added inscriptions ΑΒΡΑΣΑΞ (Abrasax) and ΙΑΩ (Iao) through three symbolic connections like the Bird-Man as a subdued cosmic Archon. 

In Gnostic cosmology, the material universe is ruled by oppressive, lower spiritual rulers called Archons. These beings were routinely depicted as hybrid monsters or animal headed entities who trapped human souls in the material world. To the Gnostic owner of this Near Eastern cylinder seal, the captured "Bird-Man would look exactly like a defeated rogue Archon or an evil atmospheric demon being subdued. Inscribing Abrasax, the supreme ruler of the celestial spheres over this imagery served as a visual demonstration of cosmic order. The amulet visually proclaimed that lower, malevolent demonic forces (the bird-man) are firmly bound and powerless under supreme divine authority. 

The right side of the seal shows the majestic, bearded water god Enki/Ea seated on a throne, surrounded by flowing streams. In Late Antiquity magical gems, lao was frequently conceptualized as an enthroned, bearded cosmic judge or king who rules of the celestial waters and the abyss.  The owner would easily conflate the ancient Mesopotamian lord of the primeval waters with the supreme, life-giving power of lao. The scene literally pictures the divine court where justice is meted out against evil spirits. 

The study of ancient seals with Gnostic connections focuses primarily on "magical gems" or intaglios from the 1st to 4th centuries CE. These artifacts frequently blend classical Near Eastern, Egyptian, and Jewish motifs with Gnostic cosmology to serve as protective personal talismans. 

I found a couple of references for Gnostic seals that include, "Studies in Magical Amulets" by Campbell Bonner, 1950, classifying Gnostic and magical seals and "Late Antique and Early Christian Gems" by Jeffrey Spier, 2007 that explores the evolution of Roman and Near Eastern Cylinder seals into Christian and Gnostic amulets. I look forward to adding both of these references to my library and stumbling onto even more Near Eastern Gnostic related cylinder seals!

Old Syrian Popular Style Cylinder Seals Inspiration Interaction Creation Personal Ownership

Old Syrian Popular Style Cylinder Seals, Inspiration, Interaction, Creation and Ownership

Near Eastern, Old Syrian Popular Style cylinder seals and the relationship between the literate seal carver and an illiterate or semi-literate owner. Seal carvers were highly specialized literate artisans who acted as the graphic designers of the ancient world. 

I would like to navigate the process for how and why a Near Eastern, Old Syrian Popular Style cylinder seal resulted in being intensely personal to an owner. Yes, there is value placed on the material, and quality of workmanship for these seals or any other material piece of antiquity, but for me there is just as great a value in the story behind how and why these Near Eastern, Old Syrian Popular Style cylinder seal were able to be created so personalized!

In the Middle Bronze Age, the Old Syrian Popular Style catered to a much wider demographic than the elite, royal seals of Mesopotamia. Customers included local merchants, lower-level administrators, and estate owners. A customer likely could not read cuneiform script, as they possessed high degree of visual literacy, but they knew exactly what a storm god looked like, what a protective sphinx meant, and what animals brought good luck. 

Many of the elite's Near Eastern cylinder seals had cuneiform inscriptions added later. For a custom order, a professional scribe might write out the owner's name and a prayer, which the carver then copied onto the stone. For the "Popular Style," however, inscriptions were rare, "the imagery was the text".

The customer would explain why they needed the seal. Maybe they are traveling into dangerous territory for trade, so the carver adds an ankh for life and an ibex for wild protection. Perhaps they are devoted to a specific local god so, the carver would place that deity at the center. Environmental and spiritual influences show why specific animals or protective symbols appear. These are generally understood to have served as an evil averting function, protecting the owner from harm or sealing a legal contract under divine witness.

There were many popular motifs carved into these Old Syrian Popular Style cylinder seals that include a verity of standing figures with and without animals, temple and religious ceremonies, hunting, warfare, demons and monsters, but because cylinder seals were used to sign legal documents, no two seals could actually be identical. If two people had the exact same seal, fraud would be effortless. Carvers created uniqueness through distinct idiosyncrasies.

The main scene might look like ten others in the city, but the carver would fill the blank space behind the main figures with unique idiosyncrasies that included a combination of "filler motifs". These might include miniature monkeys, birds, human heads, or geometric stars.

Old Syrian Popular Style seals were often made quickly using a bow drill and a cutting wheel. The specific deepness of a drill hole, the tilt of a line, or a slight error became a unique idiosyncrasy or fingerprint.

The choice of stone, hematite, magnetite, or faience paired with custom metal caps on the ends of the cylinder made the physical object immediately recognizable to the eye before it was even rolled on clay.

When an individual looked at a seal, they did not just see "a god standing." They saw "the god standing next to a bird and a small star," and they knew instantly that it belonged to you. 

Old Syrian Popular Style Cylinder Seals by Barbara Porter

Old Syrian Popular Style Cylinder Seals by Barbara Porter

It was really fortunate to have stumbled upon and purchase Dr. Barbara Porter's amazing 1348-page dissertation, "Old Syrian Popular Style Cylinder Seals" three volume set. As it is completely unavailable anyplace online. 

Volume 1 contains the core historical analysis, archaeological arguments, and art-historical conclusions of Dr. Porter's entire project. The volume focuses on the Middle Bronze Age (c. 2000-1600 BCE) and breaks down how non-elite, mass-produced cylinder seals functioned in ancient Syrian society. She defines the Old Syrian Popular Style, workshop identification, iconographic themes, and socio-economic context. 

Volume 2 shows every physical plate containing the photographs or line drawings of the seals with accompanying texts caption or "list of plates".

Volume 3 is a comprehensive catalogue organized strictly by seal number (1-396) as a formal, standalone text record of the entire corpus.

It is noteworthy that although described as being a three-volume set, all three are within these two hardcover volumes. There is no need to invest in the UMI volume 3 reprint, as volumes 1 and 2 contain everything a researcher needs.