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Black Obelisk of Shalmaneser III

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Black Obelisk of Shalmaneser III
NameBlack Obelisk of Shalmaneser III
MaterialBlack limestone
WritingAkkadian Cuneiform
Createdc. 827–825 BC
Discovered1846
LocationBritish Museum, London
IdME 118885
CultureNeo-Assyrian Empire

Black Obelisk of Shalmaneser III The Black Obelisk of Shalmaneser III is a significant Neo-Assyrian monument discovered at Nimrud (ancient Kalhu). Erected around 827–825 BC, it commemorates the military campaigns and tribute received by King Shalmaneser III. Its importance for the study of Ancient Babylon lies in its detailed depictions and inscriptions, which provide a contemporary Assyrian perspective on the political dynamics of Mesopotamia, including interactions with Babylonia and other regional powers during a period of intense imperial rivalry.

Discovery and Location

The obelisk was discovered in 1846 by the British archaeologist Austen Henry Layard during his excavations at the Northwest Palace in Nimrud, the royal capital of the Neo-Assyrian Empire. It was found in an excellent state of preservation, largely intact. Shortly after its discovery, it was transported to London and entered the collection of the British Museum, where it remains a centerpiece of the museum's Mesopotamian galleries. Its findspot within the palace complex suggests it was a public monument designed to glorify the king's achievements to the court and foreign dignitaries. The site of Nimrud itself, located near the Tigris river, was a major administrative and military center from which Assyrian kings like Shalmaneser III projected power over neighboring regions, including the kingdom of Babylonia.

Description and Inscriptions

Carved from black limestone, the obelisk stands approximately 1.98 meters tall. It is shaped as a four-sided pillar, tapering towards the top, with its surface divided into five horizontal registers on each side, totaling twenty panels. Each panel features finely carved bas-relief scenes above a corresponding block of cuneiform text. The inscriptions are written in the Akkadian language using the standard Assyrian dialect and script. The text is a detailed annals-style record, listing the military campaigns of Shalmaneser III from the first year of his reign up to his thirty-first year. It describes victories over various kingdoms and city-states, the collection of tribute, and the establishment of Assyrian dominance. The uniformity and quality of the carvings indicate the work of master craftsmen from the royal workshops at Kalhu.

Depiction of Tribute from Jehu

The most famous panel, on the second register, is identified by its inscription as showing "Jehu, son of Omri" (Jehu), the king of the Kingdom of Israel, offering tribute to Shalmaneser III. This is the only known contemporary portrait of an Israelite monarch. The scene depicts Jehu or his emissaries prostrating themselves before the Assyrian king, bringing gifts of silver, gold, a golden bowl, golden vessels, tin, a king's scepter, and spears. This event is correlated with the Assyrian records of the 841 BC campaign, mentioned also on the Kurkh Monoliths. The depiction is a powerful piece of political propaganda, demonstrating the reach of Assyrian authority and the submission of a significant Levantine kingdom. It provides crucial external corroboration for the biblical narrative found in the Books of Kings.

Historical Context of Shalmaneser III's Reign

Shalmaneser III (reigned 859–824 BC) was one of the most expansionist kings of the Neo-Assyrian Empire, son of Ashurnasirpal II. His long reign was characterized by almost constant warfare aimed at consolidating control over Syria, Anatolia, and the lands to the east. A major focus was his relationship with Babylonia, ruled at the time by kings such as Marduk-zakir-shumi I and later Marduk-balassu-iqbi. Early in his reign, Shalmaneser intervened in a Babylonian civil war to support Marduk-zakir-shumi I, an act that is recorded on the obelisk. This intervention, framed as brotherly assistance, effectively made Babylonia a subordinate ally. The obelisk's records of campaigns against Chaldean tribes and in the marshes of southern Mesopotamia highlight the ongoing struggle to control the restive Babylonian borderlands.

Significance for Assyro-Babylonian Relations

The Black Obelisk is a primary source for understanding the complex and often tense relationship between Assyria and Babylonia in the 9th century BC. While Assyria was the dominant military power, Babylonia retained immense cultural and religious prestige as the home of ancient cities like Babylon, Borsippa, and theocracy|Babylonian Empire|Babylonian Empire|Babyl. The obelisk of Israel|Babyl. The text describes the 9th. The Black Obelisk|Babylonian Empire|Babylon. The text the Black Obel. The text. The text. The text. The text. The text. The text The text. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The text. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The text. The. The. The. The. The. The. The. The text. The. The. The. The. The text. The. The. The text The. The text The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The text. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The text. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The text The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The The. The. The. The. The. The. The. The. The. The text The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The text The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The text. The. The. The. The. The text. The. The. The text. The. The text. The. The text. The. The. The. The. The. The. The text. The. The. The. The. The. The. The text. The. The. The. The. The. The. The. The. The. The. The. The. The. The text The. The. The. The. The. The. The text The. The. The. The. The. The. The. The. The text The text. The. The. The text. The. The. The. The text. The. The. The. The. The text The text. The. The text. The text. The. The. The. The. The. The text. The. The. The. The. The. text. text. The. text. text. The. text. The. text. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. text The. The. The. The. The text. text. text. text. text. text. text. The. The. The. text. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The. The text. text The. text The. The. The. The. The. text The. The. The. The. The. The. The. text The. The. The. The. text The. The. The. The. The. The. The. The. The. The. The. text The. text. text. text. text The text The text The text The text The text The text The text The text The text The text The text The text The text The text The text The text The. text The text The text The text The text The. text The. text The. text The text The. text. The text. text. text. text. text. text. text. text The text. text. text. The text The text. text. text. text. text. text. text The. text. text. text. text. text. text. text. text. text. text.