Dotted eye

Marilyn Kelly-Buccellati – July 2000, December 2025

Introduction: Stylistic characteristics

     One of the principal characteristics of the Dotted Eye Style is the manner in which both human and animal bodies are rendered. Figures are typically shown with full bodies and are often separated by relatively wide spaces, creating compositions that emphasize clarity rather than crowding. Overlapping figures are uncommon; although example A6.103 shows overlap in the human figure positioned before the bull, this appears to be an exception rather than an important feature of the style. Example A5.137 illustrates the usual composition, in which figures are not overlapping but are clearly spaced.
      Human torsos may assume a triangular shape; however, these triangles are fully integrated into the body and attached to adjoining anatomical elements, preventing the geometric form from becoming visually dominant. While some compositions include figures of varying size, as seen in A6.103 where two small animals appear above larger figures; such variation is relatively rare and indicate stylistic flexibility rather than an important diagnostic feature.
      The style favors linear clarity and balanced spatial compositions, even when minor deviations occur. The striking visual impact of the eye contributed to the distinctive identity of the style.

A6.103

A5.137

Human Figures

     Human figures in the Dotted Eye Style are distinguished by large heads, usually circular or oval in form. In some cases the head and especially the eye are rendered with a single circular line containing a raised dot near the center. In others, multiple lines define the eye and extend outward to form the nose and occasionally the mouth. The nose itself may be triangular, while the lips are generally small and the chin often pointed.
     A5.159 provides a particularly clear example of these characteristics of the human heads. Here one eye is depicted positioned centrally within the head. This eye is large, prominent, and typically marked by a heavy central dot that creates the impression of a wide depression within the face. Although the head is almost always shown in profile, the eye is rendered frontally. This choice suggests a deliberate artistic strategy: the artists appear to have observed that only one eye is visible in profile and elected to emphasize it as the most visually and perhaps symbolically significant facial feature.
     The linear quality of the head is echoed throughout the body. Arms and legs are typically straight, and garments are articulated through strong linear patterns but the garments are not distinguished by their decoration. Seal impression A5.58 demonstrates this tendency, where linear differentiation is evident even in the depiction of furniture; the table legs and top vary in thickness, and the thickened line above the head clearly represents a hat.

A5.159

A5.58

Seal impression A5.137 further exemplifies these traits. The human figure behind the animal carrying the winged gate displays the characteristically large head, triangular torso, and elongated, thin legs. The triangular nose of this standing servant connects directly to the eye through a continuous line. The heads in this impression are drawn with thicker lines, particularly along the upper part. While most limbs remain rigidly straight, occasional deviations occur, such as the slightly bent knees of the standing bull.

A5.137
detail of
standing human figure
behind the bull

Animal Figures

Representations of animals in this style share many of the same characteristics observed in human figures. In A6.147, for instance, the eye appears as a wide oval containing a large central dot, from which the line extends to connect the nose and mouth. The horns are rendered frontally despite the head being shown in profile; they are full and sweeping. All these characteristics highlight the linear pattern of the design.

A6.147

In A5.137 the bull’s head is again presented in profile with a dotted eye, however here the circular shape is somewhat irregular. The horns are segmented, and the hooves terminate in sharp points. The other horned animal in the same impression appears to present its head frontally, possibly indicating a bearded bull, although this is not clear from our sealing. The rendering of the standing bull shows a sharp contrast between the full body and the thin lines for the legs, especially the forelegs.
An additional motif, a crescent topped by a dot, also occurs in the DeepAn additional motif, a crescent topped by a dot, also occurs in the Deep Fringe Style.In A5.137 the bull’s head is again presented in profile with a dotted eye, however here the circular shape is somewhat irregular. The horns are segmented, and the hooves terminate in sharp points. The other horned animal in the same impression appears to present its head frontally, possibly indicating a bearded bull, although this is not clear from our sealing. The rendering of the standing bull shows a sharp contrast between the full body and the thin lines for the legs, especially the forelegs. Fringe Style.

A5.137
details of two animal heads
and of bull

In Alq975.18 the head of the bearded bull is shown in front view making it necessary to depict the two eyes smaller than is usual in this style. This head is created with a small drill hole for each eye and one at the base of the chin; the exterior shape of the frontally positioned face is in a raised outline with the rest of the face in an undifferentiated flat plane. In Urkesh animal combat scenes usually portray bearded bulls with the face in front view but the face usually has more details.

Alq975.18

Conclusions

This style is also connected with the royal seals from Urkesh; both those of the king and queen as well as their attendants. In the example of the seal of Zamena (AKc3) we see that the heads and eyes are large with the eyes centrally placed in the heads which are in profile; this is the case for Uqnitum as well as the child and servants depicted in the seal. All the noses are triangular. While the torsos are not triangular the arms of Zamena, the child and the servant are all thin and depicted with straight lines. The chins, especially the one of Zamena, are pointed and the triangular noses are connected to the line around the eye.	AKc3
While we have few kings seals, AKc1 appears to be carved in this style.	AKc1
Interestingly the later cook’s seal (AKh5), where we have her name Tuli, is a variation of this style; the noses are not connected with the line around the eye and the arms and legs of the human figures are slightly more realistically depicted.	AKh5