The Kingdom of Urartu emerged as a major highland polity at the dawn of the first millennium BCE, crystallizing from the flourishing Late Second-millennium civilization centered around Lake Van. At its apogee, the Urartian realm extended from the Taurus Mountains in the south to the valley of the Aras River in the north, and from the middle Euphrates in the west to the Lake Urmia basin in the east, exercising political and cultural authority across Eastern Anatolia, Transcaucasia and north-western Iran for nearly two and a half centuries. Because of the steep and climatically harsh environment of the Hakkâri highlands, the density of Urartian settlements here is lower than in the Van basin or the Ararat plain. Nevertheless, systematic surveys and excavations—documenting fortified citadels, habitation mounds and rock-cut tombs—demonstrate that Hakkâri functioned not merely as a peripheral outpost but as a fully integrated provincial zone and a strategic corridor controlling the approaches to the Lake Urmia basin. Within this frontier landscape, a relief discovered at Bay Fortress, depicting a human figure poised upon an animal and therefore plausibly representing a deity, offers a particularly eloquent testimony to the intersection of political control and religious expression. This study analyses the Bay Fortress figure in relation to the wider Urartian religious system and to the iconography of divine costume in the arts of the Late Hittite principalities, the Neo-Assyrian empire and the Urartian kingdom itself. By situating the relief within these interconnected cultural traditions, it illuminates both the regional strategies of Urartian frontier administration and the broader Near Eastern discourse on the visual articulation of divine authority.
Coşkun et al. (Fri,) studied this question.