Showing posts with label Scythian. Show all posts
Showing posts with label Scythian. Show all posts

Monday, February 08, 2021

Part of an Urartian throne with deity on a bull, ca. late 8th–7th century B.C.E.

Assyrian inscriptions of Shalmaneser I (c. 1274 BCE) first mention Uruartri as one of the states of Nairi, a loose confederation of small kingdoms and tribal states in the Armenian Highlands in the thirteenth to eleventh centuries BCE which he conquered. It extended from northeastern Turkey into northwestern Iran with its cultural center around Lake Van. Its settlements were palace-fortresses that protected agricultural production and supported many crafts, especially an extensive metalworking industry. 

The Nairi states were repeatedly subjected to further attacks and invasions by the Middle and Neo-Assyrian Empires.  But Urartu, united under King Arame (860-843 BCE),  reemerged in Assyrian language inscriptions in the ninth century BCE as a powerful northern rival to the Neo-Assyrian Empire. Urartologist Paul Zimansky speculated the Urartian ruling class were few in number and governed over an ethnically, culturally, and linguistically diverse population. This diversity may have extended to the royal line themselves who may have come from various ethnic backgrounds.

Although the Urartian capital was captured by the Assyrians during the reign of Shalmaneser III, Assyria fell into a period of temporary stagnation for decades during the first half of the 8th century BCE, which aided Urartu's growth.  During sporadic periods of peace with Assyria, it is thought Urartu traded cattle, horses, iron, and wine. From cuneiform sources, it is known that in Urartu grew wheat, barley, sesame, millet, and emmer, and cultivated gardens and vineyards. Many regions of the Urartu state required artificial irrigation, which was organized by its rulers. 

The art of Urartu is especially notable for fine lost-wax bronze objects: weapons, figurines, vessels including grand cauldrons that were used for sacrifices, fittings for furniture, and helmets. There are also remains of ivory and bone carvings, frescos, cylinder seals and of course pottery.  Unfortunately, archaeology has produced relatively few examples of the jewelry made of precious metals that the Assyrians boasted of carrying off in great quantities from the Urartian city of Musasir in 714 BCE during the campaigns of Sargon II.  

During this time the Urartian kingdom also suffered heavily from Cimmerian raids as well. but Urartu made peace with Assyria in 705 BCE when Sennacherib ascended the throne and Urartu  entered a long period of development and prosperity.  But when Cimmerians and Scythians resumed their attacks, Urartu became dependent on Assyria, like a vassal state. Inscriptions reveal  Urartu's king Sarduri III (645-635 BCE) referred to Assyrian king Ashurbanipal as his "father"  at this point.

Late during the 7th century BCE, Urartu was once again invaded by Scythians, this time accompanied by their allies—the Medes. In 612 BCE, the Median king Cyaxares the Great together with Nabopolassar of Babylon and the Scythians conquered Assyria after it had been irreversibly weakened by civil war. The Medes then took over the Urartian capital of Van in 590 BCE, effectively ending the sovereignty of Urartu.


Image: Part of a throne with deity on a bull, ca. late 8th–7th century B.C.E., Urartian, courtesy of the Metropolitan Museum of Art. This fragment, with the lower part of a figure standing along the flanks of a bull, was most likely part of a throne. From better-preserved examples, we know that the figure wore the horned crown of a deity. The whole would have been gilded. A throne and footstool supported by four deities and their animal companions would have been a potent symbol of the Urartian king's power.


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Thursday, February 04, 2021

The Stag God of the ancient Near East

From Syria, Mesopotamia, and Egypt in the south to Thrace, Anatolia, and the Caucasus in the north, and from regions as far west as mainland Greece all the way east to Iran, the great royal houses forged intense international relationships through the exchange of traded raw materials and goods as well as letters and diplomatic gifts during the Second Millennium BCE. This unprecedented movement of precious materials, luxury goods, and people resulted in a total transformation of the visual arts throughout a vast territory that spanned the ancient Near East and the eastern Mediterranean.  Cult scenes or religious processions are commonly represented in the art of this period.

Hittite texts mention that animal-shaped vessels made of gold, silver, stone, and wood, in the appropriate animal form, were given to the gods for their own use. One such god, worshiped in animal form, was the stag god.  It is thought that the ‘Stag God’ originated in the steppes and was brought to Anatolia by the early Indo-Iranian peoples who left their Kurgan burials at Trialeti and elsewhere in the region and mixed with the Hurrian and other peoples as far as northern Anatolia. Although this vessel is a few centuries older than the Neo-Hittite era, its stag god was probably the basis for Karhuhas (or Kurhunta), thought to have been a fertility deity or protector of nature, later worshiped during the Neo-Hittite period. The stag has even been found as tattoos on the so-called ‘ice princess’ in the Altai Mountains. Here at the eastern extremity of the IE steppe culture zone, her frozen body was recovered with Scythian style stags still plainly visible on her skin.  

"This silver drinking vessel in the form of a stag was hammered from one piece that was joined to the head by a checkerboard-patterned ring. Both the horns and the handle were attached separately. A frieze depicting a religious ceremony decorates the rim of the cup, suggesting the uses for which the cup was intended. A prominent figure, thought to be a goddess, sits on a cross-legged stool, holding a bird of prey in her left hand and a small cup in her right. She wears a conical crown and has large ears, typical of Hittite art. A mushroom-shaped incense burner separates her from a male god who stands on the back of a stag. He, too, holds a falcon in his left hand, while with his right he grasps a small curved staff. Three men are shown in profile, moving to the left and facing the deities. Each holds an offering to the divinities. Behind the men is a tree or plant against which rests the collapsed figure of a stag. Hanging from the tree is a quiver with arrows and an object that appears to be a bag. Two vertical spears complete the frieze and separate the stag from the goddess. Spears were venerated objects, so it is possible that the stag was killed in a hunt, as suggested by the quiver and bag". - Metropolitan Museum of Art






Images: Stag vessel, Anatolia, Hittite Empire, 14th–13th century B.C.E. at the Metropolitan Museum of Art

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