Naram Sin Propaganda

The famous stele of Naram-Sin (also known as Naramsin in some scholarly sources) is a 6-foot and 6-inch-high relief cut from red sandstone currently located in the Musée de Louvre (cite art of the ancient near and middle east) depicting the grandson of Sargon’s victory over the people of the Zagros mountains, the Lullubi. (cite the textbook) This relief has many propaganda-like tools, such as position, scale, dynamics, location, and symbols used to enforce the idea of a strong and all-reigning leader that could hold the society together. This essay will provide multiple examples of how the image of Naram-Sin, the last great king of Akkad, was contorted to fulfill his self-inflicted title of “God of Akkad” using specific tools of propaganda. (cite art of the ancient near and middle east)
Position and placement are two tools often used in advertising and propaganda that are typically work hand in hand. Naram-Sin’s placement, if you divide the composition into thirds, is in the crosshairs of the top left sections. This is basic design knowledge and is widely known as visually appealing and
In the stele, Naram-Sin is visibly much larger than the soldiers following him because they are seen as mortals or “typical” people, while Naram-Sin not only called himself a god but was also looked up to as one. All but a few soldiers are facing him, another way to direct the eye to him as the main focus and as the leader. Naram-Sin is facing directionally towards the right side of the stele that contains both a high mountain and two symbols for the gods or solar deities who protected him as if they were watching his victory over the Lullubi (cite the textbook). His stance and body type compared to the ones around him are very representational of the epitome of strength, power, and victory - symbolically representing the sum of the battle in