{"title":"Subject compositions in Tuvan rock art","authors":"M. Kilunovskaya","doi":"10.15804/aoto201807","DOIUrl":"https://doi.org/10.15804/aoto201807","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128738989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
he unique heritage of the Kazakh people includes ancient rock art— petroglyphs founded in the vast expanses of Saryarka, the steppes of Kazakhstan. They are still not very well known and virtually excluded from modern tourist routes. Within the administrative boundaries of the Karaganda region (Fig. 1), covering most of Kazakh steppes, twenty-seven sites were found.1) The petroglyph sites are situated in the most notable places of the steppes—on the rocky outcrops on the tops and slopes of the hills, on the steep banks of small rivers drying up in the summer time. These points are visible from afar. As a rule, they are associated with numerous myths and legends of the locals and they are honoured as sacred places—’aulie’. Such landmarks are essential to cattlemen as important indicators for orientation in the vast ‘ocean’ of the steppes (Fig. 2). Perhaps the ancient petroglyphs sites acted as ‘lighthouses’ in the vast steppes, pointed out the most convenient pastures and directions of movement. In the absence of written tradition, there is a limited number of communication channels between members of societies. Communication was limited to verbal and pictorial traditions that reflected the knowledge, accumulated by society, in the only one available form—mythological.2) Petroglyphs are considered to be an archaeological source, the study of which requires the solution of specific problems and challenges, among which the most salient are: an integrated analysis, classifications and documenting
{"title":"Figurative monuments and rock art traditions of the Kazakh Steppes","authors":"V. Novozhenov, Marina V. Bedelbayeva","doi":"10.15804/aoto201808","DOIUrl":"https://doi.org/10.15804/aoto201808","url":null,"abstract":"he unique heritage of the Kazakh people includes ancient rock art— petroglyphs founded in the vast expanses of Saryarka, the steppes of Kazakhstan. They are still not very well known and virtually excluded from modern tourist routes. Within the administrative boundaries of the Karaganda region (Fig. 1), covering most of Kazakh steppes, twenty-seven sites were found.1) The petroglyph sites are situated in the most notable places of the steppes—on the rocky outcrops on the tops and slopes of the hills, on the steep banks of small rivers drying up in the summer time. These points are visible from afar. As a rule, they are associated with numerous myths and legends of the locals and they are honoured as sacred places—’aulie’. Such landmarks are essential to cattlemen as important indicators for orientation in the vast ‘ocean’ of the steppes (Fig. 2). Perhaps the ancient petroglyphs sites acted as ‘lighthouses’ in the vast steppes, pointed out the most convenient pastures and directions of movement. In the absence of written tradition, there is a limited number of communication channels between members of societies. Communication was limited to verbal and pictorial traditions that reflected the knowledge, accumulated by society, in the only one available form—mythological.2) Petroglyphs are considered to be an archaeological source, the study of which requires the solution of specific problems and challenges, among which the most salient are: an integrated analysis, classifications and documenting","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128372399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
rchaeological findings support an assertion that, in the late Pleistocene, the southern and western shores of the Caspian Sea were inhabited by people. Until now, settlements of late Upper Paleolithic-Mesolithic periods have mostly been found in Gobustan (Azerbaijan), in the plain of Mazandaran (Iran), and in the mountainous part of Dagestan (the North Caucasus). Artefacts of the Upper Paleolithic-Mesolithic periods from the southern and western shores of the Caspian Sea have revealed a connection between them. The Mesolithic artefacts from the south-west shore of the Caspian Sea can be identified as a common culture from the Mesolithic period. As likely as not, the emergence of archaeological sites as a common culture on the shore of the Caspian Sea was influenced by environmental factors during the late Pleistocene-early Holocene.
{"title":"Reconstruction of the archaeological landscape of the Western Shore of the Caspian Sea at the end of Upper Pleistocene and Holocene","authors":"M. Farajova","doi":"10.15804/aoto201804","DOIUrl":"https://doi.org/10.15804/aoto201804","url":null,"abstract":"rchaeological findings support an assertion that, in the late Pleistocene, the southern and western shores of the Caspian Sea were inhabited by people. Until now, settlements of late Upper Paleolithic-Mesolithic periods have mostly been found in Gobustan (Azerbaijan), in the plain of Mazandaran (Iran), and in the mountainous part of Dagestan (the North Caucasus). Artefacts of the Upper Paleolithic-Mesolithic periods from the southern and western shores of the Caspian Sea have revealed a connection between them. The Mesolithic artefacts from the south-west shore of the Caspian Sea can be identified as a common culture from the Mesolithic period. As likely as not, the emergence of archaeological sites as a common culture on the shore of the Caspian Sea was influenced by environmental factors during the late Pleistocene-early Holocene.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134121236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
rt is a part and a manifestation of culture, and, accordingly, research on the art of a given region is necessarily related to the research on its culture and history, and it cannot be separated from archaeology and history, on the one hand, that provide research material, and, on the other, from anthropology and cultural studies that reveal the ‘language’ of cultural symbols through which given objects of material culture can be ‘read’ and interpreted. The research area outlined in the title is a rather unspecified territorial patchwork, in the case of which it is impossible to talk about a uniform culture or a historical and cultural continuity. It is a vast region, which, throughout history, provided an environment in various segments of which various cultures developed and separate political entities were formed. It was an area of intense migration of various peoples, of which the two most important were associated with the nomadic Indo-Iranian, or Āryan, tribes that reached the territories of present Afghanistan and Pakistan in the middle of the third millennium BCE, and the Turkish people of the first millennium CE. The Indus River and the Sarasvatī River, no longer existent, from the east, the basin of the Amū Daryā River, including the so-called Transoxania, to the north, and the desert belt between Herat and Kandahar to the west could be accepted as the customary natural geographical boundaries of this region.1) The paper presents a survey highlighting certain aspects relating to the research conducted on the pre-Islamic art of Afghanistan and Pakistan. The
{"title":"Pre-Islamic art of Afghanistan and Pakistan. A survey of research interest","authors":"Piotr Balcerowicz","doi":"10.15804/aoto201811","DOIUrl":"https://doi.org/10.15804/aoto201811","url":null,"abstract":"rt is a part and a manifestation of culture, and, accordingly, research on the art of a given region is necessarily related to the research on its culture and history, and it cannot be separated from archaeology and history, on the one hand, that provide research material, and, on the other, from anthropology and cultural studies that reveal the ‘language’ of cultural symbols through which given objects of material culture can be ‘read’ and interpreted. The research area outlined in the title is a rather unspecified territorial patchwork, in the case of which it is impossible to talk about a uniform culture or a historical and cultural continuity. It is a vast region, which, throughout history, provided an environment in various segments of which various cultures developed and separate political entities were formed. It was an area of intense migration of various peoples, of which the two most important were associated with the nomadic Indo-Iranian, or Āryan, tribes that reached the territories of present Afghanistan and Pakistan in the middle of the third millennium BCE, and the Turkish people of the first millennium CE. The Indus River and the Sarasvatī River, no longer existent, from the east, the basin of the Amū Daryā River, including the so-called Transoxania, to the north, and the desert belt between Herat and Kandahar to the west could be accepted as the customary natural geographical boundaries of this region.1) The paper presents a survey highlighting certain aspects relating to the research conducted on the pre-Islamic art of Afghanistan and Pakistan. The","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"292 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124861263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ock art is not unique in the regions of Central Asia; in south Uzbekistan, this phenomenon has not been closely studied yet for the simple reason that no sites with rock art have been discovered.1) The discovery of the petroglyphs occurred during the Czech-Uzbekistani-French archaeological expedition in the autumn of 2015, in the Sherabad District in Surkhanddarya Province, south Uzbekistan. Several clusters with petroglyphs were discovered during two seasons of research (2015, 2016), and all of them were carefully documented and have been analysed.
{"title":"Ibexes on black stones: new petroglyphs in Surkhandarya (South Uzbekistan)","authors":"A. Augustinová","doi":"10.15804/aoto201805","DOIUrl":"https://doi.org/10.15804/aoto201805","url":null,"abstract":"ock art is not unique in the regions of Central Asia; in south Uzbekistan, this phenomenon has not been closely studied yet for the simple reason that no sites with rock art have been discovered.1) The discovery of the petroglyphs occurred during the Czech-Uzbekistani-French archaeological expedition in the autumn of 2015, in the Sherabad District in Surkhanddarya Province, south Uzbekistan. Several clusters with petroglyphs were discovered during two seasons of research (2015, 2016), and all of them were carefully documented and have been analysed.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115786873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
he paper is devoted to silver phalerae from the 2nd-1st centuries BC nomadic burials in the vast territory of Eurasia: the burials concerned form an enormous arc stretching from the interfluve of the Lower Volga and the Ural River in the West to the east bank of the Irtysh in the East (Fig. 1, 1)1). The phalerae feature similar dimensions (ca. 23 – 25 cm in diameter), construction (three riveted loops on the rear) and manufacturing techniques and were used to disentangle the harness straps on horses’ shoulders. A characteristic feature of the phalerae in the group under discussion is the ‘mirror-image’ principle for the depiction—figures shown in profile facing left on one phalera and facing right on the other. However, the images were not mechanically mirror-reflected—that is clearly seen in the details2). The composition found in two pairs of phalerae with scenes of fighting animals, originating from Hoard I in the J. Paul Getty Museum and assumed to be of Parthian workmanship is also based on the same principle3).
{"title":"Hellenistic Phalerae from the burials of the nomads of Asian Sarmatia","authors":"M. Treister","doi":"10.15804/aoto201803","DOIUrl":"https://doi.org/10.15804/aoto201803","url":null,"abstract":"he paper is devoted to silver phalerae from the 2nd-1st centuries BC nomadic burials in the vast territory of Eurasia: the burials concerned form an enormous arc stretching from the interfluve of the Lower Volga and the Ural River in the West to the east bank of the Irtysh in the East (Fig. 1, 1)1). The phalerae feature similar dimensions (ca. 23 – 25 cm in diameter), construction (three riveted loops on the rear) and manufacturing techniques and were used to disentangle the harness straps on horses’ shoulders. A characteristic feature of the phalerae in the group under discussion is the ‘mirror-image’ principle for the depiction—figures shown in profile facing left on one phalera and facing right on the other. However, the images were not mechanically mirror-reflected—that is clearly seen in the details2). The composition found in two pairs of phalerae with scenes of fighting animals, originating from Hoard I in the J. Paul Getty Museum and assumed to be of Parthian workmanship is also based on the same principle3).","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125046021","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
lot can be said about religious notions in the late Roman Empire, but further to the east the picture is quite different. Until today even sketching the religious evolution within the Arsacid and the Sāsānian World remains problematic. A substantial amount of the most central Zoroastrian texts are incomplete and what we do find preserved is often mirrored through redaction after the Islamic conquest. About other central textual sources the only thing we know for a fact is that they existed. The situation with other cults not belonging to the Zoroastrian state church is even worse. Of course, this is also true when it comes to the interpretation of related archaeological material. Many of the themes we find depicted on toreutics, seals or stucco are hard to explain, while other representations are strongly reminiscent of cults known from the Roman World but somehow oddly adapted. In this contribution I will try to examine one of these cults — the worship of Dionysus. Since information about the Dionysian Cult in the east is quite scarce, it might prove useful to pay attention to a differentiation emphasized by Martha Carter. She stressed the difference between the term ‘Dionysian’, written with capital-D as related to the god, and ‘dionysian’ seen as a general mode to express a relation to wine or ecstatic behaviour, not necessarily connected to the cult of the god.1) For both terms we find comparable visual vocabulary, like scenes of vintage with erots or various animals between vine branches etc. In the specific case of the Late Roman beholder there likely was a connection between both perceptions, but the further east we go with an analysis the more difficult is to say what the actual content was. In Gandhāra and
{"title":"Dionysus between Sāsānian Iran and Roman allusions","authors":"R. Schulz","doi":"10.15804/aoto201802","DOIUrl":"https://doi.org/10.15804/aoto201802","url":null,"abstract":"lot can be said about religious notions in the late Roman Empire, but further to the east the picture is quite different. Until today even sketching the religious evolution within the Arsacid and the Sāsānian World remains problematic. A substantial amount of the most central Zoroastrian texts are incomplete and what we do find preserved is often mirrored through redaction after the Islamic conquest. About other central textual sources the only thing we know for a fact is that they existed. The situation with other cults not belonging to the Zoroastrian state church is even worse. Of course, this is also true when it comes to the interpretation of related archaeological material. Many of the themes we find depicted on toreutics, seals or stucco are hard to explain, while other representations are strongly reminiscent of cults known from the Roman World but somehow oddly adapted. In this contribution I will try to examine one of these cults — the worship of Dionysus. Since information about the Dionysian Cult in the east is quite scarce, it might prove useful to pay attention to a differentiation emphasized by Martha Carter. She stressed the difference between the term ‘Dionysian’, written with capital-D as related to the god, and ‘dionysian’ seen as a general mode to express a relation to wine or ecstatic behaviour, not necessarily connected to the cult of the god.1) For both terms we find comparable visual vocabulary, like scenes of vintage with erots or various animals between vine branches etc. In the specific case of the Late Roman beholder there likely was a connection between both perceptions, but the further east we go with an analysis the more difficult is to say what the actual content was. In Gandhāra and","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121551215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Griffins, Myths and Religion — a review of the archaeological evidence from ancient Greece and the early nomads of Central Asia","authors":"Kenneth Lymer","doi":"10.15804/aoto201801","DOIUrl":"https://doi.org/10.15804/aoto201801","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127824893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
uddhism began representing narratives early, albeit with one challenge which the artists faced: they were required to abstain from depicting the Buddha as a person. Prior to (at least) 100 CE, and for some areas even later, symbols were substituted for the figure of Buddha’s person, or the space where he would have been depicted was left empty, so that only the objects and accompanying individuals around that location made it possible for the viewer to determine where his figure was meant to be. Despite this hindrance, or perhaps because of it—as it was essential that the picture be legible even without the protagonist—Buddhist art rapidly created a complex and sophisticated system of pictorial rules which made it possible to illustrate narrative content.1) These rules are not always comprehensible to us. This is the case, for example, when a person or an animal appears twice in the same pictorial unit. The reverse is also true, where the protagonist appears only once although figures, animals, or objects nearby signalise that what
{"title":"Some details from the Representations of the Parinirvāṇa cycle in the art of Gandhara and Kucha: The iconography of the Wandering Ascetics (Parivrājaka, Nirgrantha and Ājīvika)","authors":"Monika Zin","doi":"10.15804/aoto201810","DOIUrl":"https://doi.org/10.15804/aoto201810","url":null,"abstract":"uddhism began representing narratives early, albeit with one challenge which the artists faced: they were required to abstain from depicting the Buddha as a person. Prior to (at least) 100 CE, and for some areas even later, symbols were substituted for the figure of Buddha’s person, or the space where he would have been depicted was left empty, so that only the objects and accompanying individuals around that location made it possible for the viewer to determine where his figure was meant to be. Despite this hindrance, or perhaps because of it—as it was essential that the picture be legible even without the protagonist—Buddhist art rapidly created a complex and sophisticated system of pictorial rules which made it possible to illustrate narrative content.1) These rules are not always comprehensible to us. This is the case, for example, when a person or an animal appears twice in the same pictorial unit. The reverse is also true, where the protagonist appears only once although figures, animals, or objects nearby signalise that what","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114446680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The discovery of two stucco heads of the Vidūṣaka in Gandharan art","authors":"Satomi Hiyama, R. Arlt","doi":"10.15804/aoto201809","DOIUrl":"https://doi.org/10.15804/aoto201809","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117217364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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