ARTIFACT IDENTIFICATION

Official Name: Victory Stele of Esarhaddon (also known as the Zinjirli or Zincirli Stele)

Date: 7th century

Material: Dolerite (basalt)

Original Location: Zincirli Höyük (ancient Sam'al/Yadiya), southern Turkey

Current Location: Pergamon Museum, Berlin (Staatliche Museen zu Berlin - Preußischer Kulturbesitz)

Discovery: 1888 by German archaeologists Felix von Luschan and Robert Koldewey

Language & Script: Akkadian cuneiform inscriptions

Height: Approximately 10+ feet (3 meters)

HISTORICAL SIGNIFICANCE

The Monument's Purpose

This monumental stele commemorates the military victory of King Esarhaddon (680–669 BCE) following his second successful campaign against Pharaoh Taharqa of Egypt in 671 BCE. It represents one of the most significant military achievements of the Neo-Assyrian Empire and serves as a primary archaeological witness to the power dynamics of the ancient Near East during the 7th century BCE.

The Connection to King Manasseh of Judah

The stele's inscription directly references Manasseh, King of Judah, establishing him as a vassal state under Assyrian hegemony. This is one of the few instances where biblical and Assyrian historical records intersect and corroborate each other:

Manasseh's reign: Approximately 687–642 BCE

Historical context: Manasseh ruled Judah during the reigns of two powerful Assyrian kings—Esarhaddon and Ashurbanipal

Vassal status: Esarhaddon's royal inscriptions (particularly Prism A) explicitly name Manasseh, King of Judah among the vassal kings who were required to provide tribute and building materials for Esarhaddon's palace construction

The Bible recounts that Manasseh was taken captive to Babylon by an Assyrian king, where he repented and was restored to his throne—an account that aligns with the documented vassalage relationship under Esarhaddon: And Jehovah bringeth in against them the heads of the host that the king of Asshur hath, and they capture Manasseh among the thickets, and bind him with brazen fetters, and cause him to go to Babylon. And when he is in distress he hath appeased the face of Jehovah his God, and is humbled exceedingly before the God of his fathers, and prayeth unto Him, and He is entreated of him, and heareth his supplication, and bringeth him back to Jerusalem, to his kingdom, and Manasseh knoweth that Jehovah -- He [is] God. 2 Chronicles 33:11–13 (YLT)

ARTISTIC & ICONOGRAPHIC ELEMENTS

Iconographic Composition

The relief depicts a powerful propaganda image showing:

Esarhaddon - Standing in an authoritative posture on the left side

Holding a royal mace (symbol of kingship and divine authority) in his left hand

Grasping two ropes that pass through the lips of conquered vassal kings

Right hand raised in a gesture of supplication or command to the gods

Elaborate royal regalia, including beard styling typical of Assyrian royalty

The Conquered Vassal Kings - Depicted kneeling before Esarhaddon

Two figures shown in positions of submission

Rope restraints symbolizing their subjugation and vassalage

Smaller stature relative to the king, emphasizing power hierarchy

Divine Elements - Upper register contains:

Symbols and representations of Assyrian gods

Winged divine emblems

Astral symbols

Cuneiform Inscriptions

The text covers the entire medium relief scene, providing:

Titulature and genealogy of Esarhaddon

Details of his military victories

References to vassal relationships and tribute obligations

Invocations to Assyrian deities

Specific mention of Manasseh as a tribute-paying vassal

ARCHAEOLOGICAL & BIBLICAL SIGNIFICANCE

Why This Artifact Matters

Extra-biblical Corroboration: The Esarhaddon stele and related inscriptions (Prism A) represent direct Assyrian written evidence confirming the biblical narrative of Manasseh's vassalage and interaction with Assyrian power

7th Century BCE Geopolitics: It illustrates the imperial structure of the Neo-Assyrian Empire and how smaller Levantine kingdoms like Judah were incorporated into the vassal system

Diplomatic-Military Hierarchy: The artistic depiction shows the visual propaganda language used by Assyrian rulers to demonstrate dominance—a system that included Judah's King Manasseh

Cross-Cultural Documentation: The existence of this monument demonstrates how ancient Near Eastern powers documented power relationships through monumental art and cuneiform inscription

3D MODEL SPECIFICATIONS FOR PRODUCTION

Model Scope

Ready for printing (3mf model is hollowed 20cm high, 2mm walls)

Detail Priorities

Figure Rendering: High-fidelity sculpting of Esarhaddon, vassal kings, and divine symbols

Material Authenticity: Weathering, patina, and surface irregularities reflecting 2,700+ years of preservation

File Formats for Export

3MF (for printing)

OBJ (for comprehensive asset compatibility with mtl and texture)

FBX (for animation and game engine integration)

ZTL (for modification)

Target Audience:

Academic institutions and biblical archaeology departments

Museum professionals and curators

Historical visualization specialists

Theological and religious education institutions

3D printing enthusiasts interested in ancient Near Eastern artifacts

Digital humanities researchers

Relevant Points:

Historically verified through archaeological publications and academic consensus

Direct connection to biblical narrative and King Manasseh

Museum-quality reproduction (based on Berlin Pergamon Museum artifact)

Exceptional rarity value—combines political, military, religious, and artistic significance

Ideal for educational digital exhibits and virtual museum displays and reproductions.