محمد اعظم زاده

New Assyria constructed magnificent palaces and temples in its three capital cities, Kalho/Kalah (Nimrud), Dursharokin (Khorsabad), and Nineveh (Koyunjik), which were all adorned with exquisite reliefs. In addition to intimidating and influencing foreign nationals, they engaged in political-religious propaganda. The relief was regarded as one of the most significant works of Assyrian art used to embellish their magnificent government and religious buildings. In these reliefs, they depicted various scenes and subjects while emphasizing the king's and gods'/angels' authoritative presence. Therefore, the purpose of the present study is to examine and identify these unique works of art through iconographic analysis of multiple themes. On the other hand, it is beneficial to comprehend the cultural and social conditions of the time by analyzing the scenes and themes in motifs. This study intends to examine scenes taking into account the significance of religion and especially gods/angels in society and the Assyrian court, and after classifying the various scenes of the winged god/angels in the reliefs of the palaces of Kalho, Dursharokin, and Nineveh, providing an archaeological and artistic description of them, and analyzing the icons using the iconography method. How are the scenes in the reliefs of New Assyria classed thematically, and what is the method for iconographically analyzing the depictions of gods and angels? This research is a type of fundamental research based on its nature and approach; it is a type of historical and analytic research, and its method and instrument for information collection are documentary.

A study of hidden and obvious angles of Iranian works of art, including the discovered artifacts of the ancient Marlik region, shows the rich heritage of this land. The ancient hill of Marlik, despite its tools and utensils, and especially its clay sculptures, is still explored due to its special elegance and beauty. The aim of this study is to have a measure of fit and linear range in Marlik pottery and to get acquainted with its hidden angles. In this regard, the question arises as to how the use of golden proportions and the visual element of the line (as a range) appear in dimensions and sizes of the clay figures. In this regard, 6 index statues have been excavated from Marlik Cemetery and the results showed that 3 clay statues follow the golden ratio of √2, √3, √4 and √5. And they have a good linear range and balance, exaggeration and harmony can be seen in them. In this process, the other 3 statues are not attractive in terms of size and dimensions and do not have the elegance of construction and design. In addition, the two factors of proportionality and linear expansion are in complete unity, and the role of positive and negative space to achieve balance is obvious. The research method here is descriptive-analytical and in the data analysis, the golden proportion approach has been used, as well as the collection of information is documented.