The Lost Treasures Persian Art. Vladimir Lukonin
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is true that there is another point of view which holds that the art of the Scythians was non-representat
Примечания
1
In western Iran, apart from the Assyrians and Babylonians who spoke the Akkadian and Elamite languages, there were numerous tribes and small organised states with dynasties of Hurrian or Qutian-Kassite origins.
2
Dyson 1969, pp. 12–14.
3
There may be material from several burial sites of various periods at Marlik, the dates of these sites differing from each other by up to 1,500 years. See Negahban 1964; Negahban 1972, pp. 142–152; Negahban 1977; Hakemi 1973; Moghaddam 1972, pp. 133–136, figs. 1–3.
4
The vessel is a tall stemless vase or goblet (of the same form as almost all the gold vessels from Marlik, Hasanlu and finds from other sites). The technique of all these vessels is also standard – embossing with subsequent engraving.
5
Wilkinson 1975, p. 7.
6
It is true that there is another point of view which holds that the art of the Scythians was non-representational before their arrival in the Near-East (see Rayevsky 1984).
7
The panther twisted into a ring from the Arzhan barrow (8th or early 7th century BCE) is a completely different motif: amongst the objects from Ziwiye there is an attempt to do something similar (on the gold pommel of the spear), but it is clear that the craftsmen of Ziwiye were ill-acquainted with such stylisation (for further details see Sorokin 1972).
8
The finds from Ziwiye are assigned to the 7th century BCE only in accordance with a historical interpretation, or because some of the motifs are close to those of Kelermes. But the only items in the hoard open to more or less precise dating are the fragments of a bronze sarcophagus (Assyria: late 8th to the early 7th centuries BCE), carved ivory articles and the Assyrian pottery (8th to the early 7th centuries BCE). The Kelermes objects are variously dated. In the catalogue
9
This is not just the case with imagery – for example, on the beautiful 6th-century silver-gilt dish exactly the same stylised palmettes are depicted on the bodies of the goats as are also found on the goats of the Ziwiye pectoral. For further details on the Ziwiye style in Achaemenid art see Lukonin 1977b, pp. 33–36.
10
In Achaemenid times – as traditional motifs, no longer meaningful and very deformed – they only survive on the chape of scabbards (see Cullican 1965).
11
On the architecture of the Median temple, ruler’s residence, and fortifications discovered by archaeologists in the 1960s, see Stronach 1973.
12
Hundreds of works have been devoted to the campaigns of Alexander the Great, to the Seleucid monarchy founded after him, and also to the culture and art of the Hellenistic period.
13
Boyce 1957, pp. 10–45.
14
Bartold 1969–1977, vol. VI, p. 121.
15
Bolshakov 1969, pp. 148, 149.
16
Ibid., p. 150.
17
Bartold 1969–1977, vol. VI, p. 216.
18
Frye 1972, p. 344.
19
According to one theory (Tavadia 1952, p. 384), the term “Tajik” is the Sogdian form of the Persian word tazi – “Arab” or “Muslim”. Initially the inhabitants of Central Asia called the Arabs and Persians, who converted to Islam, “Tajiks”.
20
Boyce 1957, pp. 17, 18. For further details on the poetry of the “Persian Renaissance” see Bertels 1960.