Ashurbanipal was a person of religious zeal. He rebuilt or adorned most of the major shrines of Assyria and Babylonia, paying particular attention to the “House of Succession” and the Ishtar Temple at Nineveh. Many of his actions were guided by the omen reports, in which he took a personal and informed interest. He celebrated the New Year Festival, and one of his reliefs, showing him dining in a garden with his queen Ashur-sharrat, may illustrate this event. His younger brothers were priests in Haran and Ashur.
Ashurbanipal’s outstanding contribution resulted from his academic interests. He assembled in Nineveh the first systematically collected and cataloged library in the ancient Middle East (of which approximately 20,720 Assyrian tablets and fragments have been preserved in the British Museum). At royal command, scribes searched out and collected or copied texts of every genre from temple libraries. These were added to the basic collection of tablets culled from Ashur, Calah, and Nineveh itself. The major group includes omen texts based on observations of events; on the behaviour and features of men, animals, and plants; and on the motions of the Sun, Moon, planets, and stars. Lexicographical texts list in dictionary form Sumerian, Akkadian, and other words, all essential to the scribal educational system. Ashurbanipal also collected many incantations, prayers, rituals, fables, proverbs, and other “canonical” and “extracanonical” texts. The traditional Mesopotamian epics—such as the stories of Creation, Gilgamesh, Irra, Etana, and Anzu—have survived mainly due to their preservation in his library. The presence of handbooks, scientific texts, and some folk tales (The Poor Man of Nippur was a precursor of one of the Thousand and One Nights tales of Baghdad) show that this library, of which only a fraction of the clay tablets has survived, was more than a mere reference library geared to the needs of diviners and others responsible for the King’s spiritual security; it covered the whole range of Ashurbanipal’s personal literary interests, and many works bear the royal mark of ownership in their colophons.
The King was a patron of the arts; he adorned his new and restored palaces at Nineveh with sculptures depicting the main historical and ceremonial events of his long reign. The style shows a remarkable development over that of his predecessors, and many bas-reliefs have an epic quality unparalleled in the ancient world, which may well be because of the influence of this active and vigorous personality.