Military images of the ancient Near East during the Early Bronze Age are characterized by one of their main features: the serial reproduction of soldiers and prisoners, side by side, the former clearly identifiable by the visual signs of power they bear and the latter by their humiliation. These images are usually and almost naturally conceived as the ideological prerogative of city-states in conflict for territorial domination or as signs of visual identity intended to reinforce the powers that be. However, the end of the Early Bronze Age is marked by the hegemony of the Akkadian dynasty and the iconographic changes that it generated. While strongly maintaining the military iconographic theme in its visual discourse, it broke with the motif of static parades of prisoners and introduced many details intended to clearly identify the protagonists, the enemies, or the environment of the battles. It could represent a transition from a discourse based on evocative repetition in order to present an ideal to one founded on detailed narration in order to assert the authenticity of an event. This paper investigates the phenomenon of repetition through soldiers and prisoners on images. Analyzing the message lying behind the series of hindered prisoners and battalions of soldiers also underlines the way the change of iconographic discourse during the Akkadian period can be understood, particularly given that the power of the Akkadian dynasty mainly rested on its military victories.

中文翻译：

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青铜时代早期美索不达米亚图像中运动中的士兵和囚犯


青铜时代早期古代近东的军事图像有一个主要特征：士兵和囚犯并排的连续再现，前者可以通过他们所拥有的权力的视觉标志清楚地识别出来，而后者则可以通过他们所拥有的权力的视觉标志清楚地识别出来。屈辱。这些图像通常并且几乎自然地被认为是争夺领土统治冲突的城邦的意识形态特权，或者是旨在加强现有权力的视觉身份标志。然而，早期青铜时代的结束以阿卡德王朝的霸权及其所产生的图像变化为标志。在视觉话语中强烈保留军事图像主题的同时，它打破了囚犯静态游行的主题，并引入了许多细节，旨在清楚地识别主角、敌人或战斗环境。它可以代表从基于唤起性重复的话语的转变，以呈现一种理想，到基于详细叙述的话语，以断言事件的真实性。本文研究了士兵和囚犯在图像上的重复现象。分析一系列受阻囚犯和士兵营背后的信息也强调了阿卡德时期图像话语变化的理解方式，特别是考虑到阿卡德王朝的权力主要依靠其军事胜利。