  About the Artwork
  
  
  Tukul-apil-esharra III (commonly known as Tiglath-Pileser), a powerful king of Assyria, built a royal palace in his capital of Kalhu, now called Nimrud, in northern Iraq. Its principal rooms and courtyards were decorated with large relief sculptures designed to awe visitors to his court. The king's power and majesty were expressed in scenes of war, the hunt, and solemn court ceremonies. In this relief, Tukul-apil-esharra, wearing a tall headdress and holding a bow, is receiving three courtiers. A helmeted warrior prostrates himself at the king's feet. A servant with a fly whisk stands behind the royal figure. Horizontal lines of a cuneiform inscription describing a military campaign run just above the heads of the figures.
  
  
  Title
  The Assyrian King Tukul-apil-esharra III (also called Tiglath-pileser III) Receiving Homage
  
  
  Artwork Date
  745 - 727 BCE
  
  Artist
  ----------
  
  
  
  Life Dates
  ----------
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  Mesopotamian
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
  Assyrian
  
  
  Medium
  Gypsum alabaster
  
  
  Dimensions
  Overall: 48 × 94 inches (121.9 × 238.8 cm)
  
  
  Classification
  Sculpture
  
  
  Department
  Ancient Near Eastern Art
  
  
  Credit
  Founders Society Purchase, Ralph Harman Booth Bequest Fund
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  50.32
  
  
  Copyright
  Public Domain
