The aesthetics of animal and plant forms executed on the Ishtar Gate

Abstract

Modern Babylon is a link in the chain of history closely linked to what preceded it and what followed it. The arts in the modern era of Babylon are characterized by originality of style, and the Ishtar Gate is the largest and most impressive of Babylon’s monuments, and its name was found on the algebraic rock that was found among the ruins of the building. As this artistic architectural work carries aesthetic and artistic values, the research focused on the aesthetic forms (geometric and botanical) executed on the Ishtar Gate completed during the reign of Nebuchadnezzar II, who restored it during his reign (604-562) BC. The type of decoration was determined in line with animal and plant shapes, with few geometric shapes. The research included the entire community, which is the Ishtar Gate, with its animal, plant and engineering shapes, and the number of models in the final sample sum was (3) decorative models. 1. The bull. 2. the Dragon. 3. The flower of the baboon (baboon). The researcher used the method of collecting information by searching and reviewing the books of specialization dealing with animal shapes, mythical animals and plant forms, as well as by looking at pictures of the portal and pictures of complex and mythical animal shapes. And through documented books about the Ishtar Gate and the forms in it. Using the analytical descriptive study method of animal and plant forms according to the elements of composition, sovereignty, movement, texture, harmony, repetition, proportions and proportion. The study resulted in the results that were reached through the analytical study of the problem, which are proven in detail in the folds of the fourth chapter of the current research, and then reached conclusions, among which we mention: 1.The researcher concludes that the religious and ideological basis had the greatest impact on the artist’s production of the works that he photographed and executed, whether on the walls of temples, palaces or seals. 2.The researcher also concludes that the intellectual basis of infinity for the Babylonians was the artist's view of expressing the start, for the animal forms that were composite were the expression of the beliefs of the Babylonians at the time