Patryk Skupniewicz - Profile on Academia.edu (original) (raw)
Papers by Patryk Skupniewicz
Acta Archaeologica Lodziensia
The armour of the personage depicted on the capital from Bisotun, exhibited in Ṭāq-e Bostān, has ... more The armour of the personage depicted on the capital from Bisotun, exhibited in Ṭāq-e Bostān, has been an object of the research already several times with no definite setting in typology of arms and armour and allocation in historical trends. The article attempts to fill this gap. The article defines the helmet as lamellar/laminar type with the splints with ornately incised edges and central splint over the personage's nose. The top of the dome is crowned by the decorative, solid finial to which a korymbos is attached. This relates the helmet to the lamellar helmets from Xinjiang and Tang Dynasty China rather than to [?] earlier Kushan lamellar helmets and related Eurasian types, characterised by a flat, round sheet at the top of the dome, usually a sheet over the face, often with a nasal and the laminae running overlapping around the dome, without the central lamina over the face and other laminae spreading to its sides. The body armour can be described as a cuirass made of metallic stripes riveted to each other and placed horizontally, with the central, vertical stripe in front. The type is derived from Parthian predecessors with plausible earlier, Achaemenid and Hellenistic sources. The cuirass with frontal opening was a dominant type of construction among the Sasanian armours. The direct relation was evidenced with Korean and Japanese cuirasses of 3rd and 4th centuries (later replaced by lamellar coats) and Eurasian, mainly Xinjiang types.
Historia i Świat, Sep 7, 2023
The expansion of the Iranian peoples in first centuries of the 1st millennium BCE coincides with ... more The expansion of the Iranian peoples in first centuries of the 1st millennium BCE coincides with the creation and further development of the cavalry warfare in western Eurasia, as well as with the creation of the pastoral nomadic life-style which dominated the Great Steppe for millennia to come. The mounted warriors replaced the light chariots which dominated the Bronze Age battlefields which required perfect horsemanship however application of the recurved, double reflex. composite bow for mounted combat seemed another important factor in development of the cavalry force. Mounted archery which doubled the fire power of the mobile troops, earlier dominated by the chariots triggered the evolution of the various forms of cavalry, both as a response to a threat of the horse archers and independent forces used by the sedentary societies. Iranian contribution in spreading (and most likely invention) of the new technology is undeniable. Although horse riding and recurved composite bows were known earlier they could not overcome the power of the chariot force separately. Only the combination of the factors allowed fielding large and efficient cavalry troops as was practiced by the Scythians and became the success factor for the Achaemenid Empire. Survival of the chariots as late as the Seleucid times was possible because of changing their tactical function from the highly mobile shooting platform to heavy, at least partially, armored terror and shock weapon.
Historia i Świat
The article discusses the military confrontation between Neo-Assyrian kingdom and the Median poli... more The article discusses the military confrontation between Neo-Assyrian kingdom and the Median polities in the 7th century BCE. At the beginning the outline of the history of wars between the Medes and Assyria from the 9th century onwards is presented which is followed by the brief description of the Assyrian forces of the era and detailed examination of the events until the fall of the Neo-Assyrian empire. In conclusions an attempt to reconstruct possible principles of the Median warfare was made.
Some remarks on the elements of infantry protective gear in Art of Gandhara: an Evidence for survival of Hellenistic military tradition?
Метаморфозы истории, 2016
The article discusses one type of armored depictions of specific type of armament of infantry war... more The article discusses one type of armored depictions of specific type of armament of infantry warriors in the art of Gandhara of Kushan Age. The warriors are depicted in local mutation of Hellenistic hypaspist kit, including pteryges and corselet covered either with rhombs or scale pattern. This may point to conclusion that Skanda, often depicted in discusses kit, as a bastard but powerful god was associated to Greek population which itself was out of Varna system.
The cavalry battle scene depicted on the Himyarite bronze plaque, being possibly a part of horse ... more The cavalry battle scene depicted on the Himyarite bronze plaque, being possibly a part of horse harness, reveals some relation with Iranian iconography of Parthian and Sasanian times. The relation is not direct and there are numerous differences with the Iranian fighting scenes. The composition does not directly refer to any of the Parthian or Sasanian battle reliefs or toreutics and seems to follow earlier, Hellenistic traditions, enriched by the Iranian and local detail. The direct confrontation, without immediate determination of the victorious and defeated sides, was avoided in Iranian iconography which aimed in glorification of royal heroism, being always victorious and only victorious cosmic power. The differences between the equipment of the depicted personages, clashing in cavalry combat, allow to identify the scene as a local version of classical amazonomachia with some Iranian iconographic elements added. Generally, the long lances were in Parthian and Sasanian times perc...
Acta Archaeologica Lodziensia, 2021
some sort of icon for research into armoured cavalry in antiquity. Despite its fragmentary state ... more some sort of icon for research into armoured cavalry in antiquity. Despite its fragmentary state of preservation, surface damage and the missing right section of the composition, the relief is the most accurate representation of the combat equipment, elements of armour and armament of elite cavalry coming from the territory of the Parthian state. The state of preservation of the battle scene in the relief of Gotarzes at Bīsotūn, does not allow any analysis of the armament (apart from the fact that long
Historia i Świat, 2020
Tomb of Māhūr is located at a village called Mahur Berenji, district of Sardasht a part of Dezfūl... more Tomb of Māhūr is located at a village called Mahur Berenji, district of Sardasht a part of Dezfūl, Khuzestan province, Southern Iran. This tomb has been discovered by Karamian and Astraki in 2018. There is a four-legged cross symbol in the above part of the tomb entrance.
Древние и средневековые культуры Центральной Азии (становление, развитие и взаимодействие урбаниз... more Древние и средневековые культуры Центральной Азии (становление, развитие и взаимодействие урбанизированных и скотоводческих обществ): Материалы Международной конференции, посвя щен ной 100-летию со дня рождения д. и. н. А. М. Мандельштама и 90-летию со дня рождения д. и. н.
The article discusses, from formal perspective, the mounted hunting scene on the Kushano-Sasanian... more The article discusses, from formal perspective, the mounted hunting scene on the Kushano-Sasanian silver plate found in Mes Aynak in Afghanistan. The scene represents the model related to other Sasanian silverware, however with significant variances. When compared the scene to other models defined by Author, conclusion is made that except for several “canonical” layouts, Sasanian toreuts, allowed themselves a dose of freedom in combining them. This phenomenon seems to be related to peripheries of the Sasanian Empire and model of a sword-wielding rider in combat with large felines while holding an object in outstretched left hand was defined as originating from Kushanshahr and combining Assyrian and Achaemenid formulae of men killing beasts with mounted archer/lancer layouts popular in Sasanian silver.
Tabriz Museum battle dish. Formal considerations
The plate with the depiction of the battle scene from Tabriz Azarbayjan Museum follows several Sa... more The plate with the depiction of the battle scene from Tabriz Azarbayjan Museum follows several Sasanian patterns. It is related to early Sasanian rock reliefs picturing a mounted combat, in Firusbad and Naqsh e Rostam. However, the relation is limited to certain details and thorough examination of composition and iconography shows that the piece could not have been manufactured in Sasanian times. The plate fails to share visual structural elements with the rock reliefs and toreutics. It is most likely to see the object as modern imitation, probably made in 1920’s or 1930’s.
The bullae of spahbedan, that is commanders of Iranian armies in 6 th century AD, are known for p... more The bullae of spahbedan, that is commanders of Iranian armies in 6 th century AD, are known for preserved impressions from the Saedi and Bakarat collections. 2 The pieces constitute a general group closely related iconographically. Curiously, they have not yet been considered from a formal or structural standpoint. Their historical value was already appreciated but they have not been treated with the same attention towards their images. 3 That might result from the very nature of sigillography which is never solely artistic or textual and artistic expression is here not obligatory, might be replaced by an abstract symbol, and is always clearly subdued to a message. Also the pattern cannot be easily compared with any other known from Sasanian seas and bullae and in fact from entire Sasanian art. 4 Although the images were employed in the studies of arms and armour, even in possible allegoric aspect of armours in Sasanian art, the composition itself was never researched as if the deta...
Historia i Świat, 2021
This article presents the iconographic concept of the bow as an insignia in ancient Iran of the i... more This article presents the iconographic concept of the bow as an insignia in ancient Iran of the imperial era. The primary source of the bow’s association with the depiction of royal power is Mesopotamian iconography, where the bow is shown in the hands of kings without any connection to the act of shooting itself. The model of depicting a ruler with a bow resting on his foot, developed in the Neo-Assyrian period, was entirely adopted by imperial Achaemenid iconography. Another aspect expressing the association of the bow with royal power is the habit of depicting, in the Mesopotamian tradition, shooting kings without quivers. Iranian art of the Parthian and Sasanid periods, on the other hand, adopted the quiver as a sign of status from the nomadic steppe tradition, but one can nevertheless see in Sasanid iconography relics of the functioning of the bow as an insignia in the Mesopotamian sense.
Manya Saadi-nejad, Anāhitā. A History and Reception of the Iranian Water Goddess, London: Bloomsbury Publishing Plc I.B. Tauris, 2021, ISBN: 978-1-8386-0111-9
Historia i Świat, 2021
Interesting and important book, deserving reviewed and corrected edition.
Historia i Świat, 2019
Recently published silver plate from al-Sabah Collection, of unknown provenance, has been firmly ... more Recently published silver plate from al-Sabah Collection, of unknown provenance, has been firmly attributed as Sasanian. In fact, technically, it is related to the Sasanian silverwork however aesthetic examination allows to raise the doubts whether it is genuine. The plate must be compared not only with central-Sasanian artworks but all ancient ‘Oriental silver’, including pieces attributed as Hephtalite or Sogdian. The design of the plate does not have any relation with any of the known examples of late antique oriental toreutics. Central scene of heroic combat with powerful beast or beasts has never been surrounded with the ring containing other hunting scenes is unknown as well. The disbalanced decorum is even more clear when we remind that the central scene shows hunting on foot and the marginal ones – mounted. The details of fixed aesthetic elements – position of personages, beasts, weapons do not belong to Sasanian canon. The unique nature of the plate might result from many f...
Mediterranean Historical Review, 2019
The description of the duel between Gordāfarid and Sohrāb in Ferdowsī's Šāh-nāma carries structur... more The description of the duel between Gordāfarid and Sohrāb in Ferdowsī's Šāh-nāma carries structural resemblances to the depiction of Penthesilea's fight with Achilles. In the course of combat, the armour of both female warriors is damaged and their true identities are revealed after being defeated by their male opponents. In case of the Amazon from the Greek tale, the sudden revelation of her womanly appeal takes place after her death, whereas Gordāfarid survives the duel, and even manages to go free. A key factor in Ferdowsī's description is the woman's "Greek" helmet, a factor that suggests Ferdowsī borrowed from the Greek story, and also made a reference to Hellenistic and post-Hellenistic depictions of armoured goddesses of the type of Athena, who was widely known across the Ghaznavid territory, where Ferdowsī's work was written and presented.
Acta Universitatis Nicolai Copernici Archeologia XXX-Nauki Humanistyczno-Społeczne-Zeszyt 379-2006
Historia i Świat
The rock relief discovered in Rag-e Bibi in Northern Afghanistan in 2002 remains an archaeologica... more The rock relief discovered in Rag-e Bibi in Northern Afghanistan in 2002 remains an archaeological sensation. The archery equipment depicted there has not yet been studied. The article describes the bow cases combined with quivers and associates them with the same type of kit popular in Eurasia related with spread of the recurved bows with stiff bone or horn extensions of Xiong Nu/Hunnictype. This type of bows replaced shorter 'Scythian' type of bows in 1st-2nd century CE. The integrated bow case and quiver went out of use soon before the rise of the Sasanians therefore Rag-e Bibi cannot be linked with this dynastic art, based also on the depicted elements of material culture, as well as on stylistic grounds.
Notes on the Combat Scene on Tang-E Sarvak III Rock Relief
Acta Archaeologica Lodziensia nr 67, 2021
some sort of icon for research into armoured cavalry in antiquity. Despite its fragmentary state ... more some sort of icon for research into armoured cavalry in antiquity. Despite its fragmentary state of preservation, surface damage and the missing right section of the composition, the relief is the most accurate representation of the combat equipment, elements of armour and armament of elite cavalry coming from the territory of the Parthian state. The state of preservation of the battle scene in the relief of Gotarzes at Bīsotūn, does not allow any analysis of the armament (apart from the fact that long
Vestnik of Saint Petersburg University. History, 2021
Among the objects excavated in 1978 at the site of Tillya Tepe (Northern Afghanistan) by the Sovi... more Among the objects excavated in 1978 at the site of Tillya Tepe (Northern Afghanistan) by the Soviet-Afghan archaeological expedition led by Victor I. Sarianidi, the twin golden clasps from Burial III attract special and instant attention of any military historian or a researcher of ancient arms and armour. The identity of the personage(-s) on the Tillya Tepe clasps has quite rarely been studied. Scholars are usually satisfied with a generic term a “warrior”. Kazim Abdullaev has identified the personage as Ares-Alexander. Jeannine Davis-Kimball has identified the personage as Enaree, the castrated priest of one of the epiphanies of Great Goddess. Patryk Skupniewicz supported the latter identification associating the personages from Tillya Tepe clasps with the North Indian, mainly Gandharan iconography of Skanda Kartikeya who, as a war-god, was an Indian equivalent of Ares. This article establishes the correspondence between the images on Tillya Tepe clasps with the representations of...
Acta Archaeologica Lodziensia
The armour of the personage depicted on the capital from Bisotun, exhibited in Ṭāq-e Bostān, has ... more The armour of the personage depicted on the capital from Bisotun, exhibited in Ṭāq-e Bostān, has been an object of the research already several times with no definite setting in typology of arms and armour and allocation in historical trends. The article attempts to fill this gap. The article defines the helmet as lamellar/laminar type with the splints with ornately incised edges and central splint over the personage's nose. The top of the dome is crowned by the decorative, solid finial to which a korymbos is attached. This relates the helmet to the lamellar helmets from Xinjiang and Tang Dynasty China rather than to [?] earlier Kushan lamellar helmets and related Eurasian types, characterised by a flat, round sheet at the top of the dome, usually a sheet over the face, often with a nasal and the laminae running overlapping around the dome, without the central lamina over the face and other laminae spreading to its sides. The body armour can be described as a cuirass made of metallic stripes riveted to each other and placed horizontally, with the central, vertical stripe in front. The type is derived from Parthian predecessors with plausible earlier, Achaemenid and Hellenistic sources. The cuirass with frontal opening was a dominant type of construction among the Sasanian armours. The direct relation was evidenced with Korean and Japanese cuirasses of 3rd and 4th centuries (later replaced by lamellar coats) and Eurasian, mainly Xinjiang types.
Historia i Świat, Sep 7, 2023
The expansion of the Iranian peoples in first centuries of the 1st millennium BCE coincides with ... more The expansion of the Iranian peoples in first centuries of the 1st millennium BCE coincides with the creation and further development of the cavalry warfare in western Eurasia, as well as with the creation of the pastoral nomadic life-style which dominated the Great Steppe for millennia to come. The mounted warriors replaced the light chariots which dominated the Bronze Age battlefields which required perfect horsemanship however application of the recurved, double reflex. composite bow for mounted combat seemed another important factor in development of the cavalry force. Mounted archery which doubled the fire power of the mobile troops, earlier dominated by the chariots triggered the evolution of the various forms of cavalry, both as a response to a threat of the horse archers and independent forces used by the sedentary societies. Iranian contribution in spreading (and most likely invention) of the new technology is undeniable. Although horse riding and recurved composite bows were known earlier they could not overcome the power of the chariot force separately. Only the combination of the factors allowed fielding large and efficient cavalry troops as was practiced by the Scythians and became the success factor for the Achaemenid Empire. Survival of the chariots as late as the Seleucid times was possible because of changing their tactical function from the highly mobile shooting platform to heavy, at least partially, armored terror and shock weapon.
Historia i Świat
The article discusses the military confrontation between Neo-Assyrian kingdom and the Median poli... more The article discusses the military confrontation between Neo-Assyrian kingdom and the Median polities in the 7th century BCE. At the beginning the outline of the history of wars between the Medes and Assyria from the 9th century onwards is presented which is followed by the brief description of the Assyrian forces of the era and detailed examination of the events until the fall of the Neo-Assyrian empire. In conclusions an attempt to reconstruct possible principles of the Median warfare was made.
Some remarks on the elements of infantry protective gear in Art of Gandhara: an Evidence for survival of Hellenistic military tradition?
Метаморфозы истории, 2016
The article discusses one type of armored depictions of specific type of armament of infantry war... more The article discusses one type of armored depictions of specific type of armament of infantry warriors in the art of Gandhara of Kushan Age. The warriors are depicted in local mutation of Hellenistic hypaspist kit, including pteryges and corselet covered either with rhombs or scale pattern. This may point to conclusion that Skanda, often depicted in discusses kit, as a bastard but powerful god was associated to Greek population which itself was out of Varna system.
The cavalry battle scene depicted on the Himyarite bronze plaque, being possibly a part of horse ... more The cavalry battle scene depicted on the Himyarite bronze plaque, being possibly a part of horse harness, reveals some relation with Iranian iconography of Parthian and Sasanian times. The relation is not direct and there are numerous differences with the Iranian fighting scenes. The composition does not directly refer to any of the Parthian or Sasanian battle reliefs or toreutics and seems to follow earlier, Hellenistic traditions, enriched by the Iranian and local detail. The direct confrontation, without immediate determination of the victorious and defeated sides, was avoided in Iranian iconography which aimed in glorification of royal heroism, being always victorious and only victorious cosmic power. The differences between the equipment of the depicted personages, clashing in cavalry combat, allow to identify the scene as a local version of classical amazonomachia with some Iranian iconographic elements added. Generally, the long lances were in Parthian and Sasanian times perc...
Acta Archaeologica Lodziensia, 2021
some sort of icon for research into armoured cavalry in antiquity. Despite its fragmentary state ... more some sort of icon for research into armoured cavalry in antiquity. Despite its fragmentary state of preservation, surface damage and the missing right section of the composition, the relief is the most accurate representation of the combat equipment, elements of armour and armament of elite cavalry coming from the territory of the Parthian state. The state of preservation of the battle scene in the relief of Gotarzes at Bīsotūn, does not allow any analysis of the armament (apart from the fact that long
Historia i Świat, 2020
Tomb of Māhūr is located at a village called Mahur Berenji, district of Sardasht a part of Dezfūl... more Tomb of Māhūr is located at a village called Mahur Berenji, district of Sardasht a part of Dezfūl, Khuzestan province, Southern Iran. This tomb has been discovered by Karamian and Astraki in 2018. There is a four-legged cross symbol in the above part of the tomb entrance.
Древние и средневековые культуры Центральной Азии (становление, развитие и взаимодействие урбаниз... more Древние и средневековые культуры Центральной Азии (становление, развитие и взаимодействие урбанизированных и скотоводческих обществ): Материалы Международной конференции, посвя щен ной 100-летию со дня рождения д. и. н. А. М. Мандельштама и 90-летию со дня рождения д. и. н.
The article discusses, from formal perspective, the mounted hunting scene on the Kushano-Sasanian... more The article discusses, from formal perspective, the mounted hunting scene on the Kushano-Sasanian silver plate found in Mes Aynak in Afghanistan. The scene represents the model related to other Sasanian silverware, however with significant variances. When compared the scene to other models defined by Author, conclusion is made that except for several “canonical” layouts, Sasanian toreuts, allowed themselves a dose of freedom in combining them. This phenomenon seems to be related to peripheries of the Sasanian Empire and model of a sword-wielding rider in combat with large felines while holding an object in outstretched left hand was defined as originating from Kushanshahr and combining Assyrian and Achaemenid formulae of men killing beasts with mounted archer/lancer layouts popular in Sasanian silver.
Tabriz Museum battle dish. Formal considerations
The plate with the depiction of the battle scene from Tabriz Azarbayjan Museum follows several Sa... more The plate with the depiction of the battle scene from Tabriz Azarbayjan Museum follows several Sasanian patterns. It is related to early Sasanian rock reliefs picturing a mounted combat, in Firusbad and Naqsh e Rostam. However, the relation is limited to certain details and thorough examination of composition and iconography shows that the piece could not have been manufactured in Sasanian times. The plate fails to share visual structural elements with the rock reliefs and toreutics. It is most likely to see the object as modern imitation, probably made in 1920’s or 1930’s.
The bullae of spahbedan, that is commanders of Iranian armies in 6 th century AD, are known for p... more The bullae of spahbedan, that is commanders of Iranian armies in 6 th century AD, are known for preserved impressions from the Saedi and Bakarat collections. 2 The pieces constitute a general group closely related iconographically. Curiously, they have not yet been considered from a formal or structural standpoint. Their historical value was already appreciated but they have not been treated with the same attention towards their images. 3 That might result from the very nature of sigillography which is never solely artistic or textual and artistic expression is here not obligatory, might be replaced by an abstract symbol, and is always clearly subdued to a message. Also the pattern cannot be easily compared with any other known from Sasanian seas and bullae and in fact from entire Sasanian art. 4 Although the images were employed in the studies of arms and armour, even in possible allegoric aspect of armours in Sasanian art, the composition itself was never researched as if the deta...
Historia i Świat, 2021
This article presents the iconographic concept of the bow as an insignia in ancient Iran of the i... more This article presents the iconographic concept of the bow as an insignia in ancient Iran of the imperial era. The primary source of the bow’s association with the depiction of royal power is Mesopotamian iconography, where the bow is shown in the hands of kings without any connection to the act of shooting itself. The model of depicting a ruler with a bow resting on his foot, developed in the Neo-Assyrian period, was entirely adopted by imperial Achaemenid iconography. Another aspect expressing the association of the bow with royal power is the habit of depicting, in the Mesopotamian tradition, shooting kings without quivers. Iranian art of the Parthian and Sasanid periods, on the other hand, adopted the quiver as a sign of status from the nomadic steppe tradition, but one can nevertheless see in Sasanid iconography relics of the functioning of the bow as an insignia in the Mesopotamian sense.
Manya Saadi-nejad, Anāhitā. A History and Reception of the Iranian Water Goddess, London: Bloomsbury Publishing Plc I.B. Tauris, 2021, ISBN: 978-1-8386-0111-9
Historia i Świat, 2021
Interesting and important book, deserving reviewed and corrected edition.
Historia i Świat, 2019
Recently published silver plate from al-Sabah Collection, of unknown provenance, has been firmly ... more Recently published silver plate from al-Sabah Collection, of unknown provenance, has been firmly attributed as Sasanian. In fact, technically, it is related to the Sasanian silverwork however aesthetic examination allows to raise the doubts whether it is genuine. The plate must be compared not only with central-Sasanian artworks but all ancient ‘Oriental silver’, including pieces attributed as Hephtalite or Sogdian. The design of the plate does not have any relation with any of the known examples of late antique oriental toreutics. Central scene of heroic combat with powerful beast or beasts has never been surrounded with the ring containing other hunting scenes is unknown as well. The disbalanced decorum is even more clear when we remind that the central scene shows hunting on foot and the marginal ones – mounted. The details of fixed aesthetic elements – position of personages, beasts, weapons do not belong to Sasanian canon. The unique nature of the plate might result from many f...
Mediterranean Historical Review, 2019
The description of the duel between Gordāfarid and Sohrāb in Ferdowsī's Šāh-nāma carries structur... more The description of the duel between Gordāfarid and Sohrāb in Ferdowsī's Šāh-nāma carries structural resemblances to the depiction of Penthesilea's fight with Achilles. In the course of combat, the armour of both female warriors is damaged and their true identities are revealed after being defeated by their male opponents. In case of the Amazon from the Greek tale, the sudden revelation of her womanly appeal takes place after her death, whereas Gordāfarid survives the duel, and even manages to go free. A key factor in Ferdowsī's description is the woman's "Greek" helmet, a factor that suggests Ferdowsī borrowed from the Greek story, and also made a reference to Hellenistic and post-Hellenistic depictions of armoured goddesses of the type of Athena, who was widely known across the Ghaznavid territory, where Ferdowsī's work was written and presented.
Acta Universitatis Nicolai Copernici Archeologia XXX-Nauki Humanistyczno-Społeczne-Zeszyt 379-2006
Historia i Świat
The rock relief discovered in Rag-e Bibi in Northern Afghanistan in 2002 remains an archaeologica... more The rock relief discovered in Rag-e Bibi in Northern Afghanistan in 2002 remains an archaeological sensation. The archery equipment depicted there has not yet been studied. The article describes the bow cases combined with quivers and associates them with the same type of kit popular in Eurasia related with spread of the recurved bows with stiff bone or horn extensions of Xiong Nu/Hunnictype. This type of bows replaced shorter 'Scythian' type of bows in 1st-2nd century CE. The integrated bow case and quiver went out of use soon before the rise of the Sasanians therefore Rag-e Bibi cannot be linked with this dynastic art, based also on the depicted elements of material culture, as well as on stylistic grounds.
Notes on the Combat Scene on Tang-E Sarvak III Rock Relief
Acta Archaeologica Lodziensia nr 67, 2021
some sort of icon for research into armoured cavalry in antiquity. Despite its fragmentary state ... more some sort of icon for research into armoured cavalry in antiquity. Despite its fragmentary state of preservation, surface damage and the missing right section of the composition, the relief is the most accurate representation of the combat equipment, elements of armour and armament of elite cavalry coming from the territory of the Parthian state. The state of preservation of the battle scene in the relief of Gotarzes at Bīsotūn, does not allow any analysis of the armament (apart from the fact that long
Vestnik of Saint Petersburg University. History, 2021
Among the objects excavated in 1978 at the site of Tillya Tepe (Northern Afghanistan) by the Sovi... more Among the objects excavated in 1978 at the site of Tillya Tepe (Northern Afghanistan) by the Soviet-Afghan archaeological expedition led by Victor I. Sarianidi, the twin golden clasps from Burial III attract special and instant attention of any military historian or a researcher of ancient arms and armour. The identity of the personage(-s) on the Tillya Tepe clasps has quite rarely been studied. Scholars are usually satisfied with a generic term a “warrior”. Kazim Abdullaev has identified the personage as Ares-Alexander. Jeannine Davis-Kimball has identified the personage as Enaree, the castrated priest of one of the epiphanies of Great Goddess. Patryk Skupniewicz supported the latter identification associating the personages from Tillya Tepe clasps with the North Indian, mainly Gandharan iconography of Skanda Kartikeya who, as a war-god, was an Indian equivalent of Ares. This article establishes the correspondence between the images on Tillya Tepe clasps with the representations of...