Abstract
Modern scholarship has tended to focus on the concepts of ideology and propaganda in Assyrian palace reliefs. This paper wrestles with the presence of artistic conventions and their level of stability throughout the Neo-Assyrian period My aim is to draw attention to specific examples of accepted principles that were followed in the reliefs of Ashurnasirpal II and measure their stability throughout the centuries, with particular emphasis on reliefs of Tiglath-Pileser III. To do so, I have selected a relief from the Central Palace of Tiglath-Pileser III which illustrates an Assyrian officer preparing to shoot an arrow in a leftward direction. It is concluded that the violation of illusionistic perspective in this relief can be explained by accepting the presence of Assyrian artistic conventions.
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