Visual representation of an artistic work normally has numerous depictions and implication, which words may fail to relay or transmit.
The Statuettes exemplified in Fig. 1 above and similar related three-dimensional works archeologists contend that they emanated from the excavating ,Eshnunna’s floor table3. Mainly, these statuettes their attires encompassed those of the priests’ and priestesses used approximately 2700 BCE. The statuettes clasped hands symbolize constant mood of prayer and complete embracing of their obligations to behold holy statutes besides being the mediators of the lay people4. According to the people’s notion by then, the statuettes were votive figurines. This implied that the faithful would leave the images in the temple as a form, worship, or prayer where in some incidents. the people attributed them to answered prayers. The keen observance of the statuettes’ faces bearing wide stares signifies vigilance regarding their prayerful obligations. The faithful besides leaving the statuettes in the temple, the human priests or priestesses, aroused amid them the utter assurance of receiving what they had inquired from the gods. This was during Mesopotamian period whose characteristics encompassed Warrior art besides narration in stone relief.
Fig. 2 comprises of two artistic dimensional panels commonly referred as “war” and “peace” respectively, depicting the earliest Sumerian’s power5. War art panel depicts soldiers on donkey- drawn chariots at warfront besides utter termination of captive soldiers using axes. . The rest paraded before the king naked to face their death via spearing. Conversely, the peace panel comprises of numerous animals and fish besides other merchandises and gifts in a procession heading to a banquet6. The attire of the seated figures comprise of fringed skirts and fleece.