As I wandered through the corridors of the Iraq Museum in Baghdad, I found myself transported back in time, surrounded by relics of a civilization long gone. Among the treasures that captured my imagination, none stood quite as tall, both literally and figuratively, as the awe-inspiring Lamassu.

The Lamassu, a mythical creature with the body of a bull, the wings of an eagle, and the head of a human, greeted me with its majestic presence. This remarkable sculpture, steeped in history and myth, served as a symbol of protection for the Assyrians, adorning the entrances of their palaces and temples.

Delving deeper into the lore surrounding the Lamassu, I discovered its significance as a guardian spirit, a supernatural being tasked with safeguarding the realms of gods and humans alike. Known by various names, including demons or genies, depending on the translation, the Lamassu held a revered place in Assyrian culture, embodying the concept of protection and divine power.

During the reigns of Ashurnasirpal II and Sargon II, two formidable Assyrian kings, the Lamassu rose to prominence as a prominent feature in their capital cities. These colossal sculptures, crafted with meticulous detail, stood as symbols of strength and authority, reflecting the might of the Assyrian empire.

Among the Lamassu statues housed within the Iraq Museum, one stood out in particular: the imposing figure from the palace of Sargon II in Khorsabad. Standing over four meters tall and weighing more than 30 tons, this monumental creation captivated me with its sheer grandeur. Carved from a single piece of limestone around the 8th century BCE, the craftsmanship displayed in every intricately chiselled detail was nothing short of extraordinary.

As I stood in awe before the Lamassu, I marvelled at the skill of the ancient artisans who brought this mythical creature to life. The intricate curls of its beard, the delicate feathers of its wings, and the powerful muscles of its body spoke volumes about the mastery of craftsmanship that flourished in ancient Mesopotamia.

Lamassu is clearly an intriguing creature, but where does it come from? The Lamassu is a celestial being from ancient Mesopotamian religion bearing the head of a man, the wings of an eagle, and the hulking body of a bull, sometimes with the horns and the ears of a bull.

Lamassu frequently appear in Mesopotamian art and mythology. The first recorded Lamassu comes from ca. 3000 BCE. Other names for Lamassu are Lumasi, Alad, and Shedu. The earliest examples of something bearing this resemblance date back to the Sumerian civilisation of Mesopotamia. The Sumerians recognised a protective deity named Lama, or Lamassu, with a female human form who was a servant of the gods. This protective spirit became very popular in the Assyrian culture of ancient Mesopotamia and later spread to the Persian Achaemenid Empire (550–330 BCE) as well.

The most famous colossal statues of Lamassu have been excavated at the sites of the Assyrian capitals established by King Assurnasirpal II (reigned 883 – 859 BCE) and King Sargon II (reigned 721 – 705 BCE). The Assyrians envisioned a protective spirit that was part bull and part human (and sometimes part eagle). Instead of being female, this spirit was male, with a nice, long Assyrian beard. It’s worth noting that there was female lamassu as well, which are called “apsasu”.

Ashurnasirpal II, the first great Assyrian king, constructed a new capital in Kalhu (present-day Nimrud) to represent his power and reign over his vast empire. At the entrances to this palace complex, there were hybrid supernatural figures with a bearded human head, the body of a bull or a lion, the wings of a bird, and 5 legs that stood guard at all entrances to the palace; this creature is known as the Lamassu, as a protective spirit and a symbol of the power of the Assyrian king. Behind them were colossal winged human figures of the same height, bearing the pine cone and basket–winged genies. 

Winged genies are usually bearded male figures sporting birds wings. The winged genies are a reappearing trait in ancient Assyrian art and are displayed most prominently in palaces or places of royalty. The two most notable places where the genies existed were Ashurnasirpal II’s palace Kalhu and Sargon II’s palace Dur-Sharrukin (current Khorsabad, Iraq).

Every important city wanted to have Lamassu protect the gateway to their citadel. At the same time, another winged creature was made to keep watch at the throne room entrance. Additionally, they were the guardians who inspired armies to protect their cities. The Mesopotamians believed that Lamassu frightened away the forces of chaos and brought peace to their homes.

The Lamassu figures are a very interesting example of Neo-Assyrian Art. For several hundred years (934-609 BCE) Assyria was the most important and influential empire in the Mesopotamian region.  The kings at this time used art as a way to make certain everyone knew of their importance.

Relief sculpture is by far the most striking manifestation of Achaemenian art. Adopted as the basis of the new style was the straightforward technique of the Assyrians, with its engraved detail and lack of modelling.

The representation of the human-headed winged bull is the cross of two perspectives, changing from high relief in the flat area (side view) to the full-relief view of the forward portion of the sculpture. The materialisation of the figure emerging from the raw stone block stress the link between creature and palace, as well as dynamic power and motion to the visitors, and thus intended to guard and protect against evil powers. The precarious balance between the motionless posture of the forward-looking portion and the dynamic movement of the side view originates a sedate unsteadiness bringing the creature to life.

The sculptures were meant to be seen in one of two ways – from the front looking directly at the face, or from the side as the viewer entered the king’s throne room.  Therefore the figures are sculpted with five legs – two legs that can be seen from the front view and four legs that can be seen from the side.  This would indicate that the figure was a four-legged beast, but the extra leg was added so that the side view made visual sense. The figures were carved in relief, that is they were not free-standing sculptures but rather only part of the figure was carved and they needed a wall to support them.

Every important city wanted to have Lamassu protect the gateway to their citadel. At the same time, another winged creature was made to keep watch at the throne room entrance. Additionally, they were the guardians who inspired armies to protect their cities. The Mesopotamians believed that Lamassu frightened away the forces of chaos and brought peace to their homes. The most famous colossal statues of Lamassu have been excavated at the sites of the Assyrian capitals established by King Assurnasirpal II (r. 883 – 859 BCE) and King Sargon II (r. 721 – 705 BCE).

The Akkadians associated the human-bull hybrid as a gatekeeper associated with the god Papsukkal, who is the attendant deity of Anu (sky god of the supreme deities) and functions as a gatekeeper in the spiritual world by providing a pathway between the higher gods and humans. While these hybrid creatures were supernatural beings, they were superior to humans but were not considered to be deities. Even though the Lamassu does wear a horned cap/tiara, which proves their divinity, they were not considered deities in their culture.

After the Assyrians, the Achaemenid Empire of Persia also widely embraced this figure and its protective function. The Lamassu – a symbol combining man, bull, and bird – combines the strength of a bull, the freedom of an eagle, and the intelligence of a human being.

In encountering the Lamassu, I found myself not only beholding a magnificent work of art but also connecting with a piece of history that transcends time. As it stood sentinel in the heart of the museum, the Lamassu served as a tangible link to a civilization that once thrived in the lands of Mesopotamia, leaving an indelible mark on the annals of human history.

My visit to the Iraq Museum left me with a profound appreciation for the richness of ancient civilizations and the enduring legacy of their artistry. In the presence of the Lamassu, I felt humbled by the magnitude of human ingenuity and inspired by the timeless beauty that continues to captivate hearts and minds to this day.