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The statue of Gilgamesh is set in the aesthetically pleasing sandstone building environment of Sydney University, the oldest established university in Australia. Its immediate landmarks are Maclaurin Hall (the original university library) and the Arena Sports Centre.
The statue is inspired by the Epic of Gilgamesh, an ancient Sumerian text originating from Mesopotamia written c2150-1400 BC which is the oldest discovered piece of epic western writing (the Iliad was written c760-710 BC). Gilgamesh is the first recorded human hero to be ascribed God-like status. He lived around 2700 BC and ruled as the 5th King of Uruk, according to the legend, for 126 years. He was also reputed to have built the walls of Uruk by himself.
The Gilgamesh Cultural Centre, on behalf of the Assyrian community, presented the statue to the University to commemorate its sesquicentenary. The statue was unveiled by Dame Leonie Kramer, A.C., and D.B.E., on 15th Oct 2000.
This monument is educational and informative, or epideictic, to use Aristotelian terminology. It both valorises and honours the story of Gilgamesh, a famous warrior king of great strength. an emotional level the story of Gilgamesh, connects with the audience, and in doing so helps to preserve. It inspires those academics working in this field. Gilgamesh is the university’s honorary hero. The statue also encourages anyone who sees it to explore the legend in greater depth.
There is also a deliberative component that seeks to influence the thoughts of both the audience and Gilgamesh. The legend of Gilgamesh is about a man who unsuccessfully seeks immortality and as a consequence learns to focus more on his present life. His experiences persuade him to rethink, and they also influence the audience. He is encouraged by Siduri, the barmaid, to “take pleasure every day” by leading a wholesome life. This is the essential theme that is hinted at when we see the statue and read the inscription. Both Gilgamesh and the audience are encouraged to come to a future conclusion. For those unfamiliar with the legend, the plaque underneath it states
He sets out on a quest to seek immortality. In the course of his quest he finds compassion, friendship, courage, love and peace.
Judicial rhetoric is also present, as the statue and the epic both criticise Gilgamesh’s attitude. They reflect on his past in order to persuade him that he should not seek immortality, and that he should live more in the present and enjoy himself. The epic both valorises Gilgamesh as a great warrior and king, and deprecates his way of life. The forensic approach used in the epic to analyse what’s wrong with Gilgamesh’s life eventually leads him to greater contentment and happiness. It convinces him and the reader that he was wrong.
The statue was sculpted by Lewis Batros, who is famous for a number of prominent works in several cities, and for many awards. He has done many Assyrian inspired works, including a 4.5m high monument for Assyrian victims of genocide commissioned by Fairfield council. He obtained a degree in fine art in 1986 and migrated to Australia in 1990. Inspiration is taken from “anything, whatever comes to me”.
In this monument the style of ancient works has been chosen, and characteristics of authentic Gilgamesh statues are reproduced. As it is 2.5m high and cast in bronze and placed in such a prestigious area(Sydney University grounds), the statue conveys authority.
The statue is large and imposing, making a visual statement which communicates strongly to the audience, which includes members of the Assyrian community, sightseers, university students, administrators and academics. (There is a lot of interest in Assyriology at Sydney University). Via the internet the statue can be viewed by scholars and others around the world, as is the case with all notable works of art.
The audience may not immediately deduce the message of Gilgamesh, i.e. the acceptance of mortality and the resulting implications for living. A study of the associated plaque gives some guidance. The message does have a relevant timeless quality which is suitable for any time in history. The values and ideology are both noble and cross cultural. The Epic of Gilgamesh is an exaltation to live in the present and this is compatible with all major religions. These lofty principles have universal appeal.
The statue was created in clay, a mould was then taken and the final product cast in bronze. At 2.5m tall, Gilgamesh is an imposing character, and this creates impact on an emotional level. He holds a lion in one arm and in the other hand there is what appears to be a lifeless snake. The lion and Gilgamesh, (the king of the jungle and the king of Uruk) are both looking directly at the audience. When the statue and the inscription are both viewed, the main idea being conveyed is that man is mortal, and life is finite, regardless of one’s strength and capability. These are highly emotional concepts presented with both logic and authority.
This message is assisted by a number of visual stimuli. Gilgamesh is very big and very muscular, as well as being disproportionally wide. Lewis Batros said he would have made Gilgamesh 20 feet high if he had been allowed. The lion Gilgamesh is holding seems disproportionally small, which helps to emphasise Gilgamesh’s size. The clothes worn have a definite regal, wealthy look about them. The expression on Gilgamesh’s face is serene, self-confident and fearless. He has bracelets on his upper arms drawing further attention to his muscularity. The style is classic Mesopotamian, with a simplicity that helps to emphasise the features, the message, and the authority.
The Epic of Gilgamesh is the oldest known significant piece of literature, dating back approximately 4 millennia. It is exciting to know that its themes are as relevant today as they were then. As Gilgamesh learns, greater happiness can be gained by living in the present. This is still a relevant concept today in psychology, and in many religions. The impressive statue, in its impressive surroundings, is a very effective introduction to both the story and to the ancient history in which it was conceived.
