IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ
Για παραπομπή :
Συγγραφή :
Bouzek Jan
Bouzek Jan , "Ionian Origins of the Scythian Art", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Μ. Ασία
URL: <http://www.ehw.gr/l.aspx?id=9339>
Ionian Origins of the Scythian Art
Περίληψη :
Scythian art, initially under Assyrian influence, will gradually become Ionian during the 7th century B.C. Ionian influences will be gradually replaced
by Attic ones from the 5th century B.C. onwards.
Χρονολόγηση
Archaic period
Γεωγραφικός εντοπισμός
Scythia
1. The Scythians
The first Assyrian reference to the Scythians is in a letter from Sennacherib to his father Sargon about the situation north of the
Assyrian frontier. The Scythians are mentioned together with the Cimmerians, as both being present in the region of Urartu. This letter
dates back to the first years of the reign of Sargon II (722-705 BC), and could probably even date back to before 713 BC. The
Cimmerians played the major destructive role in Asia Minor in the early 7th century, whereas the Scythians became the principal
nomadic invaders only later.
The Scythians were first enemies of the Assyrians. In 679 BC they attacked Assyria themselves, and in 673 BC together with the
Medes. Later, however, they managed to keep relatively good relations with the Assyrians. In 623/22 BC they helped to save
Assyria when in great danger, and the final destruction of Ninive in 612 BC cannot be attributed to them. The date of Kelermes
tumuli - the 3rd quarter of the 7th century thus falls at the time of Ashurbanipal and of relatively friendly relations between the
Assyrians and the Scythians, although it is likely that some troubles in the south were the reason for some of them to return north of
the Caucasus. Urartu was under their control between 625-585 BC. The Scythians governed the highlands of Asia for 28 years1 and
their raids even reached Egypt. Their raids are depicted along with those of the Cimmerians, in the apocalyptic pictures of overall
destructions in the Bible, namely in the books of Jeremiah and Isaiah.
2. Scythian Art
H. Kossack came to the conclusion that the Scythian style in its modest early stage began in ca. 700 BC, as was notably documented
by the Tli grave 85.2 From the point of view of art history, Scythian art is a similar continuation of the Pontic and North Caucasian
artistic tradition under new "Orientalistic" impulses, as was the transition between Geometric and Archaic art in Greece and Etruria.
The Scythians did not come with an established sophisticated artistic tradition. Their first products are simple, and it was only after
contact with more sophisticated artistic traditions during their invasions in the Near East that Scythian art achieved a high standard. 3
The Kelermes barrows began during the second third of the 7th century, roughly around the middle, while some of the earliest tumuli
may be even earlier and some date from the late 7th century BC.4
3. Near Eastern and Assyrians models
One close link with the tumuli at Kelermes can be seen among the finds from Northwest Iran, including the Ziwiyé treasure5 as well as
other finds from this area connected both with the early art of the Medes and with an earlier tradition. In addition, the vessels of gold
and silver from the aforementioned area6 as well as others are of particulat interest: one gold vessel from North Iran now on loan in
the Los Angeles County Museum and two silver vessels in Paris, Louvre AO 20136 and 20181. As P. Alexandrescu has shown,
they were also the source of inspiration for the art of the Getae. It is generally known that many objects from the Kelermes tumuli
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Για παραπομπή :
Συγγραφή :
Bouzek Jan
Bouzek Jan , "Ionian Origins of the Scythian Art", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Μ. Ασία
URL: <http://www.ehw.gr/l.aspx?id=9339>
Ionian Origins of the Scythian Art
derive from the Assyrian artistic tradition.7 The bowls from Tumulus 1/S,8 the silver rhyton and mirror from tumuli 3/S and 4/S9 are
dated in the 3rd quarter of the 7th century.
It is possible that some of the Kelermes tumuli may have been constructed even slightly earlier. These complexes seem to be the
burials of those Scythians who had just returned from their campaigns. Other important objects are the scabbard of an akinakes with
fantastic animals from tumulus 1/S, the oblong objects with ram’s and lion's heads (cat. nos. 34-35) from Kurgan 3/S and a similar
lion’s head probably from Kelermes (cat. no. 91). The inlays of amber are also interesting. Galanina compared all of them to Assyrian
art of the third quarter of the 7th century BC.
In order to confirm the results gained by Galanina, there are extremely important new finds, helping us to improve our knowledge of
the origins of Scythian art, namely the three tombs of Assyrian queens found in Nimrud.10 The first tomb yielded gold brooches,
neck-rings, colliers, boat-shaped earrings and also Egyptian scarabs. In this instance, we do not know the name of the queen. The
second tomb belonged to Queen Jaba, the wife of Tiglath-Pileser (744-727 BC) and to Banitu or Atalia, the wives of Shalmaneser V
(726-722 BC) and Sargon II (721-705 BC) respectively. The most important objects amongst the finds are the bracelets with lion's
heads, three phialai and a pectoral, while the enameled bracelets also show parallels with the Kelermes enamelled items.
The richest of the three was Tomb III. It was constructed for Mulisiu-mukanišat-Nimea, wife of Ashurbanipal II (883-59 BC), but
some items date from the reign of Shalmaneser III (858-24 BC) and some are probably later. The most important find is the pitcher
with a lion's head attachment and friezes with riders and hunting scenes, which bear a close resemblance to the Kelermes scabbard
and to the lion's heads of the flat objects mentioned above. It can also be remembered that the figure of a winged goddess from the
wreath from this tomb comes quite near to the earliest Ionian jewellery, best known from Ephesus.
New findings of figurines from Central Anatolia confirm once again how close relations existed in the jewellery made for the upper
class in all these neighbouring empires.11 The bridge between Assyria and Ionia was probably first the empire of the Phrygians,
destroyed by the Cimmerians under the reign of Sennacherib (704-681 BC), and later that of the Lydians. When the Cimmerians
attacked Gyges, he sought help from Ashurbanipal. The latter had already asked the Scythians to help; the Scythians were apparently
willing to fight their old enemies, the Cimmerians.
4. Ionian works made for the Scythians
Yet, again, those who compared the mirror and the rhyton with Greek art since Karl Schefold were right to some extent. The lions,
the sphinxes and the Potnia Theron (Mıstress of Animals) on the mirror, the griffin, the goats and the centaur on the rhyton can also
be compared with Greek art. Late Protocorinthian and Middle White Goat II styles offer simply the best parallels, and they show that
the roots of these objects can be seen in the Anatolian koine. We know of close relations between Greek art and the art of its eastern
neighbours. Phrygians and Lydians, as well as Aeolic lyrics describe the free movement of Greek merchants towards the East.
Ephesian art, whch is now better known, shows a mixture of Greek and Anatolian elements.
A group of objects in Early Scythian style from the Greek and Lydian towns in western and central Anatolia is also important for the
study of origins of Scythian art. These objects known from Sardis, Boghazköy and Ephesus represent a more sophisticated artistic
standard of the Early Scythian style. They were probably made in Ionian cities, and thus may well represent fashionable objects made
also for the Scythians (but not only for them) by East Greek craftsmen. They are much superior in comparison to what is known from
Tli, Norsuntepe and Irmler. In any case, they represent the style preferred by the Scythians and used by them, as is the case with
other later objects of art made by the Greeks for the Scythians. Their list was composed by P. Amandry and elaborated by R.
Stucky, while new finds from the Austrian excavations in the Artemision of Ephesus have been published by A. Bammer.12 The ibex
is the most common animal depicted, the boar takes second place, while there are also figures of wild cat (lynx?), hare and a winged
monster. Most of the items are of bronze and bone, a few of silver. Most of these objects seem to have been connected with horse
trappings, but some were probably parts of furniture. They reflect the admiration of the Greeks and the Lydians for the horsemanship
of the Scythians, which was much superior to their own; P. Amandry has given examples of Greek predecessors of this style, known
in Late Geometric art, and by extension this preparation for later Scythian art.13
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Για παραπομπή :
Συγγραφή :
Bouzek Jan
Bouzek Jan , "Ionian Origins of the Scythian Art", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Μ. Ασία
URL: <http://www.ehw.gr/l.aspx?id=9339>
Ionian Origins of the Scythian Art
Several of these objects were found outside Anatolia. One item came from Gela.14 It may have been brought there as a curiosity, but
an import of the famous Scythian horses, or a similar service of the Scythians in Sicily, as we know it from Athenian police, is not
beyond the realms of possibility. The Scythians were often represented in Etruscan and South Italian art. Another piece found in
Hungary has arrived there probably with the Scythian raids in the 6th century BC, like many other items discussed by various
scholars.15 Another related group is the bone carvings from Kelermes.16
Much of what is known as the more sophisticated Scythian art was also produced by Ionian artists in the late 7th century BC. The
Kelermes mirror and the rhyton from the same site came from the same artististic school in Anatolia, in the area between the Ionian
production centres proper and those of late Assyria. The style resembles the Protocorinthian and Wild Goat vases. The gold plaque
in repoussé with a monkey and a bird from the Melgunov tumulus, and the ivory lion heads with amber-inlaid eyes from Smela, are
other examples of Archaic works probably made specifically for upper class Scythians; in this case probably in early 6th century
BC.17 The leading role of the Ionians (including those who later worked for the Persians) is evident.18 The most sophisticated items
from the Witaszkowo (Vettersfelde) treasure kept in Berlin are also their work. The famous fish from there is the work of an Ionian
artist from c. 540/530 BC,19 and its Etruscan parallels only document how, after the troubles with the Persians around 540, Ionian
artists worked as emigrés in different parts of the ancient world for different customers. This early Ionianizing period of Scythian art
ended in the early 5th century BC., when Attic masters took over the role of the Ionians.
1. Herod. 4.1.
2. Kossack, G., “Bemerkungen zum Beginn des skythenzeitlichen Formenkreises,” AVA-Beiträge 5 (1983) p. 89-186. Cf. Techov, V. B., Skifi i centralnyj
Kavkaz v VII-VI vv. do n.e., (Moskva 1980).
3. Godard, A. Le trésor de Ziwiyé (Kurdistan) (Haarlem 1950). Goldman, B., “The Animal Style of Ziwieh”, IPEK 72 (1974-77) p. 54-68. D’jakonov, I.M.,
“Kimmerijci i Skifi na Drevnem Vostoke”, Ross.Arch. (1994/1) p. 108-116. Pogrebova, M.N., “O principach datirovki skifskoj archaiki”, Ross.Arch.
(1993/2), p. 84-88. Tochtasjev, S.R., "K chronologii i etničeskoj atribucii pam’jatnikov skifskogo tipa na Blizkom Vostoke i v Maloj Azii", Ross.Arch.
(1993/2) p. 89-97.
4. Galanina, L.K., Kelermeskije kurgany - Die Kurgane von Kelermes (Moskva 1997).
5. Godard, A. Le trésor de Ziwiyé (Kurdistan) (Haarlem 1950).
6. For example, a gold vessel in the county museum of Los Angeles, as well as two silver vessels in the Louvre Museum in Paris (cat. no. 20136 and
20181).Cf. Goldman, B., “The Animal Style of Ziwieh”, IPEK 72 (1974-77) pl. 40.
7. Cf. Galanina, L.K., Kelermeskije kurgany - Die Kurgane von Kelermes (Moskva 1997) p. 183-187.
8. Galanina, L.K., Kelermeskije kurgany - Die Kurgane von Kelermes (Moskva 1997), cat. nos 22 and 23.
9. Galanina, L.K., Kelermeskije kurgany - Die Kurgane von Kelermes (Moskva 1997), cat. nos. 41 and 52.
10. Damerji, M., Said B., “Gräber assyrischer Königinnen aus Nimrud,” Jb. RGZM Mainz 45 (1998) [1999], p. 1-84.
11. Isik, F., “Zur Rolle der griechischen Plastik bei der Entstehung der attischen Klassik”, Papenfuss, D.– Strocka, V.M. (ed.), Gab es die griechische
Wunder?, Griechenland zwischem dem Ende des 6. und der Mitte des 5. Jhs. v. Chr. (Tagungsbeiträge des 16. Fachsymposiums der HumboldtStiftung 1999 in Freiburg im Breisgau, Mainz 2001), p.147-162.
12. A detailed catalogue is provided by Amandry, P., “Un motif scythe en Iran et en Grèce” JNES 24 (1965), p. 149-160 and expanded by Stucky, R.,
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Για παραπομπή :
Συγγραφή :
Bouzek Jan
Bouzek Jan , "Ionian Origins of the Scythian Art", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Μ. Ασία
URL: <http://www.ehw.gr/l.aspx?id=9339>
Ionian Origins of the Scythian Art
“Kleinplastiken, Anatolisches Zaumzeug aus Ost und West”, Arch. Mitt. aus Iran 18 (1985), 119-124 and 20 (1987), 161-165.
13. Amandry, P., “Un motif scythe en Iran et en Grèce” JNES 24 (1965), p. 149-160 This stylization was also taken over by Etruscan Geometric painters.
Cf. Donati, L. , “Rappresentazioni etrusche dela capra e del cervo di tipo scito”, Arch.Cl. 43 (1991), 919-937.
14. Cf. Stucky, R., “Kleinplastiken, Anatolisches Zaumzeug aus Ost und West”, Arch. Mitt. aus Iran 18 (1985), 119-124 and 20 (1987), 161165. Bouzek, J., Greece, Anatolia and Europe: Cultural Interrelations during the Early Iron Age (Jonsered 1997) p. 245-246.
15. Lengyel, I., “Die Bronzeplatte von Buj” Acta Arch. Hung. 22 (1970) p. 51-68.
16. Galanina, L.K., Kelermeskije kurgany - Die Kurgane von Kelermes (Moskva 1997) cat nos. 259, 374-375 pl. 16.
17. Boardman, J., The Greeks Overseas, 3rd ed. (London 1980), p. 256-264.
18. Alexandrescu, P., “Zum goldenen Fisch von Witaszkowo (ehem. Vettersfelde) (683-687)”, in Chronos, Festschr. f. B. Hänsel (Espelkamp 1997) p.
689-710.
19. Bouzek, J., “La réception scythe de l`art grec”, Mactoux, M.M., and Geny, E. (eds.) Mélanges P. Lévêque III (Besancon 1991), p. 27-40.
Βιβλιογραφία :
Boardman J., The Greeks Overseas. Their Early Colonies and Trade, London 1980
Bouzek J., Greece Anatolia and Europe. Cultural Interrelations during the Early Iron Age, Jonsered
1997, SIMA 122
Bunker, C. – Chatwin, C.B. – Farkas, A.R. (eds), “Animal Style Art” from East to West, New York
1970
Kossack G., "Tli Grab 85. Bemerkungen zum Beginn des skythenzeitlichen Formenkreises im Kaukasus.",
AVA- Beiträge, 5, 1983, 89-186
Kossack G., "Von den Anfängen des skytho-iranischen Tierstils", Franke, H. (ed.), Skythika, München 1987,
Abh. Bayer Akad. Munchen NF 98, 24-86
Галанина Л.К., Келермеские курганы - Die Kurgane von Kelermes, Москва 1997
Godard A., Le trésor de Ziwiyé (Kurdistan), Haarlem 1950
Höllmann, Th. (ed.), Maoqinggou: Ein eisenzeitliches Gräberfeld in der Ordos-Region (Innere
Mongolei)., Mainz 1992, AVA-Monographien 50
Дьяконов И.М., "Киммерийцы и скифы на древнем Востоке", Росс.Арх., 1994/1, 108-116
Goldman B., "The Animal Style of Ziwieh", IPEK, 72, 1974-1977, 54-68
Гринтовский Э.А., "О хронологии пребывания киммерийцев и скифов в Передней Азии",
Росс.Арх., 1994/3, 23-48
Мансфельд Г., "Опыт периодизации скифских древностей", Росс. Aрх., 1992/3, 108-112
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Για παραπομπή :
Συγγραφή :
Bouzek Jan
Bouzek Jan , "Ionian Origins of the Scythian Art", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Μ. Ασία
URL: <http://www.ehw.gr/l.aspx?id=9339>
Ionian Origins of the Scythian Art
Медведская И.Н., "Периодизация скифской архаики и древний Восток", Росс. Арх., 3, 1992, 86-97
Медведская И.Н., "Заключение по скифской дискуссии", Росс.Арх., 3, 1994/1, 123-133
Murzin V.Ju., Skory S., "An Essay on Scythian History", Il Mar Nero, 1, 1994, 55-98
Погребова М.Н., "О принципах датировки скифской архаики", Росс.Арх., 1993/2, 84–97
Rajevskij D.S., "O logike postrojenija ranneskifskoj chronologii", Ross.Arch., 1993/2, 79-84
Stucky R., "Kleinplastiken, Anatolisches Zaumzeug aus Ost und West", Arch. Mitt. (Iran), 18, 1985, 119124
Stucky R., "Kleinplastiken, Anatolisches Zaumzeug aus Ost und West", Arch. Mitt. (Iran), 20, 1987, 161165
Tochtasjev S.R., "K chronologii i etniceskoj atribucii pam’jatnikov skifskogo tipa na Blizkom Vostoke i v
Maloj Azii", Ross.Arch., 1993/2, 89-97
Meljukova, A.N. – Mackova, N.S. (eds.), Skifsko-sibirskij zvernij stil v iskusstvenarodov Eurazii,
Moskva 1976
Murzin V.Ju., Skifskaja archaika Severnogo Pricernomorja, Kiev 1984
Pogrebova M.N., Rajevskij D.S., Rannije Skifi i drevnij Vostok, Moskva 1992
Techov V.B., Skifi i centralnyj Kavkaz v VII-VI vv. do n.e., Moskva 1980
Alexandrescu P., "L’art d'Agighiol et l’Iran préachéménide", Il Mar Nero, II, 1996, 9-28
Alexandrescu P., "Ζum goldenen Fisch von Witaszkowo (ehem. Vettersfelde)", Chronos. Beiträge zur
prähistorischen Archäologie zwischen Nord- und Südosteuropa., Espelkamp 1997, Internationale
Archäologie. Studia honoraria, 689-710
Amandry M., Amandry P., "Un motif scythe en Iran et en Grèce", JNES, 24, 1965, 149-160
Bouzek J., "La réception scythe de l’art grec", Mactoux, M.M., Geny, E. (eds.), Mélanges P. Lévêque III,
Besancon 1991, 27-40
Bouzek J., "Cimmerians and Early Scythians. The transition from Geometric to Orientalizing style in the Pontic
area", Tsekhladze, G.R. (ed.), North Pontic Archaeology. Recent Discoveries and Studies, Leiden 2001,
33-44
Damerji M.S.B., "Gräber assyrischer Koniginnen aus Nimrud", JRGZM, 45, 1998 (1999), 1-84
Donati L., "Rappresentazioni etrusche dela capra e del cervo di tipo scito", Arch.Cl., 43, 1991, 919-937
Galanina L.K., "Frühskythische Zaumzeuggarnituren nach den Materialien der Kelermeskurgane", Arch. Mitt.
aus Iran, 8, 1985, 87-118
Isik C., "Zur Rolle der griechischen Plastik bei der Entstehung der attischen Klassik", Papenfuss, V. – Strocka,
M. (eds.), Gab es die griechische Wunder?, Griechenland zwischen dem Ende des 6, und der Mitte des 5,
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Για παραπομπή :
Συγγραφή :
Bouzek Jan
Bouzek Jan , "Ionian Origins of the Scythian Art", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Μ. Ασία
URL: <http://www.ehw.gr/l.aspx?id=9339>
Ionian Origins of the Scythian Art
Jh, v. Chr., Mainz 2001, 147-162
Kurockin G.N., "Chronologia predoasiatkich pochodov Skifov po pismennym i archeologiceskim dannym",
Ross.Arch, 3, 1994/1, 117-122
Lengyel I., "Die Bronzeplatte von Buj", Acta Arch. Hung, 22, 1970, 51-68
Δικτυογραφία :
Scythian Slide Collection
http://www.pitt.edu/~haskins/
Γλωσσάριo :
rhyton, the
libation vessel with an outlet at the bottom of the vessel allowing the slow outflow of the liquid.
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