| Summary: | The purpose of my study is to analyze Assyrian sculptures in the palace of Nimrud from throne room of Aššur-nāṣir-apli northwest palace. My research will be to compare sculptures with a theoretical as well as practical issue in the design of the galleries. Images of supernatural beings would be set up at entrances to palaces and temples. Assyrians called sculptures Lamassū (from written Sumerian references LAM(M) (A) lord of horizons, guardian of the Assyrian Gate. Lamassū are both flanked at the doorways from the throne room of Aššur-nāṣir-apli`s northwest palace. The exact meaning is not clear, but Lamassū can be taken as representing an Assyrian protective divinity. The first method in my analysis combines the need to establish the subjective meaning of objects as objective reality that is their meaning for digital design. My thesis aims to define a specific iconographic theme, centered around sculptures based on similarities in the composition of each scene in the selection of images on monuments in Nimrud. Digitalization projects provide an angle from mergers areas as architecture and archeology through images. With the project historians can use traditional documents and images to reconstruct the past and palaces. The analysis takes as an example of the importance of Digital archeology in understanding the role of artefacts and the role as a function of the specific purpose or activities for which such present or used in museums. We construct meaning as the basis for action, and not only from concrete material, but also from the matrix of symbols that are available from within culture to interpret the substantive conditions. Digital archeology is associated with technology that provides a picture of the physical environment. The digital images show the limit between design of the architectural spaces from the British Museum and the old spaces in Nimrud.
|
|---|
