(artist unknown, original located at Mari palace). (c.1750 bc). Investiture of Zimrilim [wall painting facsimile]. Musée du Louvre, Paris.

I’ll skip the caveat preamble. This work effectively reflects along a vertical axis; figures, creatures and plant forms generally repeat but they are individually different. The outer figures are prostrating; they and the creatures direct attention inward. The available frames at center are deities providing water and life (lower) and what look like those in command (upper). This arrangement is unexpected; usually the realm of the gods is arranged above that of mortals. | 

Overall the work is typical of ancient art: Forms are abstracted to the point required to conform to the surface they’re rendered on and present the most identifiable combination of features. Their arrangement is as deliberate as the message: King Zimrilim is the bringer of order, water and life (framing trees, lower-central panel), whose rule is represented and blessed by the gods (terminal edge figures and elevated figure, center panel). 
This work documents the legitimacy of Zimrilim’s position. More generally it is simply propaganda. Formally, it is a product of time period from which it was created. In terms of message, the intent of the patron is the only reason why it was created. 

Shape is supported by line, pattern and probably texture. The dimensions of color are clearly present but I can only guess at how much work they did. According to my primary reference, blue, orange and brown would’ve been used with neutrals. 

Even in its aged state, clearly depth is not a primary motivation. Shapes are formatted in a similar flattened, representative manner, presenting each scene at an equivalent distance from the observer. 

Lines define shapes, provide them with detail and frame the content. While shapes are dominated by natural subjects, they are stiff in tone. Overall formal choices are meant to harmonize the entire work, for example shape size and texture. The most effective harmonizing factor is the way juxtaposed light and dark components create a pleasing pattern throughout the entire scene. 

The orientation of this work’s figures direct eye movement toward the center cells. It seems that this work’s creator was using the context of the time, cultural awareness on the part of the observer, to place primary focus on the exchange between the two figures in the canvas-center cell. According to my studies, the goddess Ishtar (right, elevated) is investing the temporal ruler Zimrilim (left, subordinate) with her blessing to assume political authority. 

This mural is effective in documenting the political message intended by the patron. It shows sensitive spatial arrangement of figures and shapes, and advanced, graceful use of design.