Sasanian royal gifts of silver

Sasanian silver plates were usually hammered into shape and then decorated using a variety of complex techniques.  Gilding was often used to highlight the hunter, usually the king, and sometimes extra pieces of metal were added to create high relief.

The king as hunter became a standard image on silver plates during the reign of Shapur II (r. 310–379 CE). The motif symbolizes the prowess of Sasanian rulers, and these royal plates were often sent as gifts to neighboring and vassal courts.  Some plates included inscriptions with the king's name and the plate's weight.  With other plates, art historians must attempt to identify the king by his distinctive apparel or shape of the crown he wears.  Each Sasanian king wore a different personal crown, which became more and more elaborate during the four centuries of the dynasty. Fortunately, the different crowns have been identified from coins or sometimes compared with existing rock reliefs with inscriptions such as those at Ṭāq-e Bostān or Naqš-e Rostam, Iran.

"In a few cases identification by crown can be reinforced by the presence of contemporary inscriptions. The best instance of this – and a very important example - is the Investiture of Ardašir I at Naqš-e Rostam. This magnificent relief shows two mounted horsemen, one handing the ribboned diadem or symbol of kingship to the other, and both with defeated enemies lying dead beside them. The left hand figure is wearing the skull-cap surmounted by korymbos, the final version of his personal crown developed by Ardašir (224-241 CE), seen on both his gold and silver coins. The figure on the right wears the mural crown, his hair arranged in a top-knot as well as falling in luxuriant curls to his shoulders." - iranicaonline.org 

King Hunting Plate, Sasanian period 4th-5th century CE silver and gilt courtesy of Wikimedia Commons contributor Daderot

Closeup of a Plate depicting a boar hunt Persia (Iran) Sasanian Period 4th century CE Silver and Gilt that I photographed at the Smithsonian's Sackler Gallery of Asian Art in Washington D.C.

Plate depicting a boar hunt Persia (Iran) Sasanian Period 4th century CE Silver and Gilt that I photographed at the Smithsonian's Sackler Gallery of Asian Art in Washington D.C.

Silver and gilt plate depicting winged horses Persian Sasanian Period 7th century CE that I photographed at the Smithsonian's Sackler Gallery of Asian Art in Washington D.C.

Sasanian Silver and Gilt Plate depicting a royal hunt Persia 7th century CE that I photographed at the Smithsonian's Sackler Gallery of Asian Art in Washington D.C.

Sasanian Silver plate with Shapur killing a deer, 4th century CE courtesy of Wikimedia Commons contributor Sailko.

Hunting scene depicting King Chosroes II. 7th century CE Sassanid, Cabinet des Medailles, Paris courtesy of Wikimedia Commons

The scene on this example is striking: the king is depicted standing and slaying a rearing stag, whose protruding tongue indicates that he is either dying or already dead. The king is identifiable as Yazdgard I (r. 399-420) due to his crown, although it is topped with a striated globe rather than the cloth-covered one with which he is normally represented. His beaded skirt resembles those shown on the rock reliefs of Shapur II (r. 310-379), Shapur III (r. 383-388) and Ardashir II (r. 379-383) at Taq-i Bustan, Iran. The crescent-tipped spear with a counterweight in the form of a human fist is unique amongst weapons represented on Sasanian silver plates. Image courtesy of the Metropolitan Museum of Art in New York.

Sivler Plate of Peroz I hunting argali, Sasanian, courtesy of the Hermitage Museum and Wikimedia Commons

King Hunting Plate, 303-309 CE, Sasanian, Iran, silver and gilt courtesy of the Cleveland Museum of Art

Hunting with a bowl Sasanian Great King; Iran; 7 Century, Museum of Islamic Art in Berlin (Pergamon Museum) courtesy of Wikimedia Commons contributor Anagoria

Sasanian Silver and Gilt Plate portraying a royal ibex hunt Persia 7th century CE that I photographed at the Smithsonian's Sackler Gallery of Asian Art in Washington D.C.

 

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Inscription on Sudanese ram statues may hold key to Merotic

I have always been fascinated by the process used to decipher ancient scripts. I think that is why I was so anxious to view the Rosetta Stone when I visited the British Museum a couple of years ago.

Three ancient ram statues newly discovered in Sudan could help decipher the oldest script in sub-Saharan Africa whose secrets are mysterious to the modern world, a Western archaeologist said on Tuesday.

The rams were excavated at El-Hassa, 180km north of Khartoum, on a sacred causeway leading to an ancient temple, said Vincent Rondot, head of the French Section of the Directorate on Antiquities of Sudan.

The site is one of the most southern temples built to Amum, considered an omnipotent god, creator and guardian by people who lived throughout the Nile valley during the Merotic period 300 BC to 450 AD, said Rondot.

Key to the discovery three weeks ago is a royal inscription that bears the name of little known king Amanakhareqerem, said Rondot, whose unit is funded by the French foreign ministry.

"Merotic language is one of the last antique writings that still waits for its understanding... and it is the most ancient (sub-Saharan) African language written in script," Rondot told reporters.

Experts can pronounce the text and can read names, but cannot understand the words. Merotic is a branch of the same linguistic tree as languages spoken in contemporary Sudan and Eritrea, the archaeologist said.

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Mummy of Temple Dancer Turns Out to be Son of Ramesses II

It looks like the remains of Ramses II's extensive family may be scattered all over the world!

"The 3,000-year-old relic was thought to have been a female temple dancer, but a hospital CT scan showed features so reminiscent of the Egyptian royal family that experts are 90 per cent sure it is one of the 110 children Ramesses is thought to have fathered.

	The Bolton Museum mummy was thought for many years to have been the remains of a female temple dancer

Tests showed that the mummy had a pronounced over-bite and misaligned eyes, akin to members of the 19th Dynasty, and his facial measurements were found to be almost identical to those of Ramesses himself.

Experts believe that the mummified man died in his thirties between 1295 and 1186 BC of a wasting disease, likely to be cancer.

Chemical analysis also showed that the body had been embalmed using expensive materials, including pistachio resin and thyme, the preserve of priests and royalty. The story of the royal mummy was uncovered by a team from York University who were filmed carrying out the tests for History Channel series Mummy Forensics.

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