Kipfer (ed.) Visualizing Emotions in the Ancient Near East ORBIS BIBLICUS ET ORIENTALIS Founded by Othmar Keel Published on behalf of the BIBLE+ORIENT Foundation in cooperation with the Department of Biblical Studies, University of Fribourg Switzerland, the Institute of Egyptology, University of Basel, the Institute of Archaeology, Near Eastern Archaeology section, University of Berne, the Institut romand des sciences bibliques, University of Lausanne, the Institute of Religious Studies, University of Zurich and the Swiss Society for Ancient Near Eastern Studies by Susanne Bickel, Thomas C. Römer, Daniel Schwemer and Christoph Uehlinger Volume editor Sara Kipfer (*1980) studied Protestant Theology in Bern and Heidelberg. She holds a PhD of the University of Bern (2013) and is the author of Der be­ drohte David. Eine exegetische und rezeptionsgeschichtliche Studie zu 1Sam 16–1Kön 2 (Studies of the Bible and its Reception 3), Berlin: De Gruyter, 2015. From 2013 to 2015 she contributed as a postdoc to a research project funded by the Swiss National Science Foundation on “Emotions in the Old Testament. Analysing linguistic metaphors as an interdisciplinary approach in the field of research concerning historical emotions” (PI: Prof. Andreas Wagner). Since September 2015 she is an SNSF-funded fellow at the univer- sities of Chicago and Heidelberg. Her research focuses on reception-histor- ical exegesis, biblical anthropology and prophecy. Orbis Biblicus et Orientalis 285 Sara Kipfer (ed.) Visualizing Emotions in the Ancient Near East Academic Press Fribourg Vandenhoeck & Ruprecht Göttingen Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. The series Orbis Biblicus et Orientalis publishes monographs, collective volumes and conference proceedings in all areas of ancient Near Eastern studies: biblical studies (Hebrew Bible and Septua- gint), egyptology, assyriology, archaeology, iconography, history of religions. The editors and the partner institutions ensure its multi- and interdisciplinary orientation and academic quality. The series enjoys worldwide distribution, subscription and readership. Publication inquiries may be addressed to one of the members of the editorial board. Manuscripts are examined by the board and may be submitted to further independent peer review. 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Gesamtkatalog auf Internet: IAntcearndeetm geicn ePrrael scsa Ftarliobgouuer:g: www.paulusedition.ch AVcaanddeemnihc oPerecsks &Fr iRbouuprrge:c whtw, wG.öpattuinlugseend:i twiown.wch.v-r.de Vandenhoeck & Ruprecht, Göttingen: www.v-r.de Text und Abbildungen wurden vom Autor Camera-ready text submitted by the editors, final layout by Marcia Bodenmann, als formatierte PDF-Daten zur Verfügung gestellt. Department of Religious Studies, University of Zurich © 2014 by Academic Press Fribourg © 2017 by Academic Press Fribourg and VVaannddenehnoheocekc &k &Ru Rpurepcrhetc Ghöt tGtinögtteinngen IISSBBNN: :9 9778-83--37-277287-181-187147-92- 6(A (cAacdaedmeimc Picr ePssre Fsrsib Foruibrgo)urg) IISSBBNN: :9 9778-83--35-2552-554-5441338-69 (-V4a (nVdaenndheonehcko e&c Rk u&p rRecuhptr)echt) IISSSSNN: :1 100151-51-815805 (0O (rOb.r bbi.b bliicbulisc oursie onrti.e)nt.) Contents Preface ................................................................................................ VII Sara Kipfer Visualizing Emotions in the Ancient Near East – An Introduction .............................................................................. 1 PART 1: FACIAL EXPRESSION, GESTURES AND BODY POSTURE: DIFFERENT ASPECTS OF VISUALIZING EMOTIONS (CASE STUDIES) ..... 25 Othmar Keel Porträts altorientalischer Herrscher? Individualität oder Rolle ..... 27 Dominik Bonatz Der stumme Schrei – Kritische Überlegungen zu Emotionen als Untersuchungsfeld der altorientalischen Bildwissenschaft ...... 55 Elisabeth Wagner-Durand Visualization of Emotions – Potentials and Obstacles: A Response to Dominik Bonatz .................................................... 75 Wolfgang Zwickel The Iconography of Emotions in the Ancient Near East and in Ancient Egypt ............................................................................ 95 Izak Cornelius “The eyes have it and the benign smile” – The Iconography of Emotions in the Ancient Near East: From Gestures to Facial Expressions? ....................................................................... 123 Silvia Schroer Kulturelle Rollen – keine Gefühle! Eine Response zu Izak Cornelius ........................................................................................ 149 VI CONTENTS PART 2: COMPARATIVE METHODOLOGY, LINGUISTICS AND ART HISTORICAL ANALYSES: THEORETICAL REFLECTIONS ON VISUALIZING EMOTIONS ..................................................................... 157 Florian Lippke Analyzing “Emotions” in Ancient Media: Between Skepticism and Conceptual Autonomy (“Eigenbegrifflichkeit”) ...................... 159 Margaret Jaques The Discourse on Emotion in Ancient Mesopotamia: A Theoretical Approach ................................................................ 185 Andreas Wagner Emotionen in Text, Sprache und materialen Bildern: Eine Skizze aus Sicht der Metaphernanalyse ................................. 207 Karen Sonik Emotion and the Ancient Arts: Visualizing, Materializing, and Producing States of Being ........................................................ 219 John Baines Epilogue: On Ancient Pictorial Representations of Emotion: Concluding Comments with Examples from Egypt ....................... 263 Contributors ........................................................................................ 287 Indices ................................................................................................. 289 Subjects .......................................................................................... 289 Authors .......................................................................................... 294 Preface This volume is the product of a workshop held at the 61st Rencontre Assyr- iologique Internationale (RAI) in Geneva and Bern on 22–26 June 2015. I would like to thank the organizers of the Rencontre for accepting my appli- cation for the workshop, foremost Mirko Novák and Sabine Ecklin, for their encouragement and help. Most of the articles in this volume are expanded and revised versions of papers presented at the morning panel during the workshop “Visualizing Emotions and Senses in the Ancient Near East”, which I organized to- gether with Ainsley Hawthorn (Yale University) and Anne-Caroline Rendu Loisel (University of Geneva). An unpublished article by Othmar Keel, which he wrote in the 1990s, has been added to the volume. Wolfgang Zwickel, who was also present at the workshop, agreed to revise and reprint an earlier published article of his own. Karen Sonik accepted my invitation to contribute her thoughts on the subject of emotion in Mesopotamian art, while John Baines in his epilogue comments on the volume from the per- spective of Egyptian art. I am very grateful to all the authors for their huge effort. I would also like to offer my thanks to all contributors to the workshop for their constructive and well-focused presentations and to everyone for participating and further stimulating the discussion during and after the Rencontre, especially to Irene Winter. It was a very fruitful interdiscipli- nary conversation and I am excited to present some of its most important results in this volume. The workshop at the Rencontre Assyriologique Internationale was fi- nanced by the Promotion Fund for Early Career Researchers at the Univer- sity of Bern (Nachwuchsförderungs-Projektpool der Mittelbauvereinigung der Universität Bern). The Berne University Research Foundation and the Reformed Churches of the Cantons Bern-Jura-Solothurn funded the print- ing costs for the volume. As editor of this volume, I am especially grateful to Christoph Ueh- linger, senior editor of the series Orbis Biblicus et Orientalis, not only for accepting this volume for publication in this series and for his help throughout the editing process, but also for his many supportive sugges- tions and his expertise in improving the text. I would also like to sincerely thank Andreas Wagner, who encouraged and enabled me to organize the workshop during my time as a postdoctoral researcher at the University of Bern on the Swiss National Science Foundation-funded research project on “Emotions in the Old Testament”. VIII AUTOR And last but not least I am very grateful to Marshall Cunningham, who helped me in the editing of the English articles. Sara Kipfer, Heidelberg / Bern 2017 Visualizing Emotions in the Ancient Near East An Introduction Sara KIPFER 1. Some Introductory Remarks The generally held scholarly opinion was – or perhaps still is – that ancient Near Eastern art does not represent any emotion.1 Indeed, visualizations of emotions are elusive: the depicted faces in Assyrian reliefs are homogenous and stereotyped,2 figurines from the southern Levant keep a straight face, and Egyptian images3 are to a large extent standardized. In many images the repre- sentation of emotions or feelings seem to be dispensable.4 However, these ob- servations should not blind us to the fact that many depictions represent situa- tions and groupings of motifs that are highly emotional: the depiction of ritual mourning, erotic scenes, aggression and violence, triumph and joy. The main questions are as follows: What connection do those images have with emotion? How can we analyze them? And finally: What do we learn from them about ancient Near Eastern concepts of emotion? In any case, it will not be possible to investigate emotions as such, but only their dispositions, dramaturgy, and accompanying, observable evidence.5 1 See e.g. Schroer 2002a: 1080: „Auch die Darstellung von Affekten spielt mit Ausnahme ritualisierter Trauergesten in der ao. Kunst keine Rolle.“ Similarly Nunn 2009: 134-35 summarizes: “Natürlich hat es Emotionen gegeben, sie wurden aber nicht in Gesichts- zügen gezeigt. Ein kurzer Blick reicht, um festzustellen, dass die Gesichtsausdrücke al- ler abgebildeter Götter und Menschen gleich sind: kein Lachen, keine Freude, keine Be- kundung von Bewunderung oder Staunen, kein Weinen, keine Angstgefühle, keine Trauer. Dass dies so ist, hängt mit der Stellung des Individuums in der altorientalischen Gesellschaft zusammen. Nicht das Individuum Mensch zählt, sondern seine soziale Stel- lung.“ For more examples from the history of scholarship in the area, see also Cornelius in this volume. 2 See e.g. Larsen 2001: 277: “Instead we must conclude that an artistic convention is at play here, one that apparently prohibited the exposure of feelings in terms of open, facial expressions, even such positive ones as aggressiveness or righteous anger.” 3 For an overview on “Gefühlsbewegungen” in ancient Egypt, see Altenmüller 1977. 4 See Keel in this volume. 5 See Böhme 1997: 536. Hammer-Tugendhat / Lutter 2010: 9 state: „Als (Kultur-) Wis- senschaftlerInnen haben wir es daher immer mit Repräsentationen zu tun, seien sie sprachlich, visuell oder akustisch, seien sie gegenwärtig oder historisch. Emotionen sind immer nur näherungsweise bzw. ‚übersetzt‘ zugänglich und können nicht von ihrer kul- turell geformten Vermittlung abgelöst werden.“ See also Schnell 2015: 18-23.