The Scene of Bear Hunt on the Sasanian Silver Plate from the Wyvern Collection. On Segmented Image-Building in Sasanian art (original) (raw)

Abstract

The silver plate in the Wyvern Collection, London, depicts a scene of the mounted bear hunt. The article examines the scene from an iconographic perspective, researching the composition, the traditions of similar themes in Sasanian and related arts, as well as the details of depicted elements of material culture. The research confirms the origin of the plate from the territory of modern Afghanistan and associates the scene with the model represented in art of the Kushan Empire on which Sasanian elements were placed. The iconographic details can allow dating of the plate to the fifth/sixth centuries AD.

Figures (24)

FIGURE |. The plate from the Wyvern Collection (No. 2223) century (Aimone 2020, 184-186). Although the mentioned region was occupied by the Hephtalites for most of that period, it does not undermine the fact that the scene represents the Sasanian tradition and is well-settled in Sasanian iconography. Even if actual production did not occur nominally under the reign of the dynasty, the object unmistakably reflects the aesthetics and iconography of the Sasanian era. It is indeed manufactured provincially and must be associated with the eastern part of Greater Iran, which will be >onfirmed through the analysis that follows.

FIGURE |. The plate from the Wyvern Collection (No. 2223) century (Aimone 2020, 184-186). Although the mentioned region was occupied by the Hephtalites for most of that period, it does not undermine the fact that the scene represents the Sasanian tradition and is well-settled in Sasanian iconography. Even if actual production did not occur nominally under the reign of the dynasty, the object unmistakably reflects the aesthetics and iconography of the Sasanian era. It is indeed manufactured provincially and must be associated with the eastern part of Greater Iran, which will be >onfirmed through the analysis that follows.

OT Such an analysis, applied to the scene of the bear hunt on the plate from the Wyvern Collection, leads to the conclusion that the scene is well set in the aesthetic principles and the elements are consistent with the time and place of manufacture. At the same time, the immediately perceived alleged inconsequence of the position of the hunter, his horse, and the prey clearly results from the image-building practice and influence of the local post- Hellenistic traditions.

OT Such an analysis, applied to the scene of the bear hunt on the plate from the Wyvern Collection, leads to the conclusion that the scene is well set in the aesthetic principles and the elements are consistent with the time and place of manufacture. At the same time, the immediately perceived alleged inconsequence of the position of the hunter, his horse, and the prey clearly results from the image-building practice and influence of the local post- Hellenistic traditions.

The horse is depicted standing on three legs; the front right leg is somewhat raised, with the knee slightly lifted and the hoof turned backward. The left leg is straight. The hind legs are a little bent as if the horse delicately squatted on them. The neck is rounded and the head is turned downward to the chest. The musculature and joints of the horse are marked with clear lines. The mane is trimmed and over the head protrudes a disc shaped object. The saddle-cloth is diagonally checkered, which is marked by the dotted lines.

The horse is depicted standing on three legs; the front right leg is somewhat raised, with the knee slightly lifted and the hoof turned backward. The left leg is straight. The hind legs are a little bent as if the horse delicately squatted on them. The neck is rounded and the head is turned downward to the chest. The musculature and joints of the horse are marked with clear lines. The mane is trimmed and over the head protrudes a disc shaped object. The saddle-cloth is diagonally checkered, which is marked by the dotted lines.

vertically positioned as the hero’s opponent.

vertically positioned as the hero’s opponent.

The Scene of Bear Hunt on the Sasanian Silver Plate ... Rider Thrusting a Spear down Diagonally (Fig. 10). The rider strikes with his two- handed spear diagonally downward or forward, or he throws the javelin in that direction, aiming at the beast placed either horizontally or along the vessel's edge. In principle, the described composition schemes do not depend on the weapon, which qualifies for the next set of non-compositional analytical elements, i.e., props. Using a shafted weapon in the diagonal direction of attack radically modifies the composition and the dynamics of the pictorial field, which change from strictly horizontal or vertical elements to a combination of horizontal and diagonal movements.’

The Scene of Bear Hunt on the Sasanian Silver Plate ... Rider Thrusting a Spear down Diagonally (Fig. 10). The rider strikes with his two- handed spear diagonally downward or forward, or he throws the javelin in that direction, aiming at the beast placed either horizontally or along the vessel's edge. In principle, the described composition schemes do not depend on the weapon, which qualifies for the next set of non-compositional analytical elements, i.e., props. Using a shafted weapon in the diagonal direction of attack radically modifies the composition and the dynamics of the pictorial field, which change from strictly horizontal or vertical elements to a combination of horizontal and diagonal movements.’

FIGURE 10. Rider thrusting a spear down diagonally formula

FIGURE 10. Rider thrusting a spear down diagonally formula

FIGURE 11. The hunter is attacked by two beasts diagonally from below formula The Scene of Bear Hunt on the Sasanian Silver Plate ...

FIGURE 11. The hunter is attacked by two beasts diagonally from below formula The Scene of Bear Hunt on the Sasanian Silver Plate ...

FIGURE 12. The hunter on foot is attacked by two beasts diagonally from below formula

FIGURE 12. The hunter on foot is attacked by two beasts diagonally from below formula

FIGURE 13. Escape-confrontation formula The Scene of Bear Hunt on the Sasanian Silver Plate ... The Hunter Kills the Animal He Mounts. This is a unique formula, represented by a plate from the British Museum (124091; Harper 1978, 34-35; Harper and Meyers 1981, 57-60, 214, pl. 13). It may also be reflected in one of the stuccos from Chal Tarkhan, where the act of killing a deer itself is not clearly emphasized. Instead, the rider mounts an animal, holding its antlers (Harper 1978, 116). — 7 — . 4 — 1 yr. 4AN WW,

FIGURE 13. Escape-confrontation formula The Scene of Bear Hunt on the Sasanian Silver Plate ... The Hunter Kills the Animal He Mounts. This is a unique formula, represented by a plate from the British Museum (124091; Harper 1978, 34-35; Harper and Meyers 1981, 57-60, 214, pl. 13). It may also be reflected in one of the stuccos from Chal Tarkhan, where the act of killing a deer itself is not clearly emphasized. Instead, the rider mounts an animal, holding its antlers (Harper 1978, 116). — 7 — . 4 — 1 yr. 4AN WW,

FIGURE 14. The hero with a bent knee fights the boars in the reeds formula

FIGURE 14. The hero with a bent knee fights the boars in the reeds formula

FIGURE 16. Anikovska plate from the Hermitage examples provided by Aimone, similar layouts can be observed on the boar hunting scenes in Chal Tarkhan stucco (Harper 1978, 113-112; Skupniewicz 2009), Saksankhur clasp (Marshak 2002, 9, fig. 10; Skupniewicz 2009, 58-59), Sogdian plate in Sasanian style, featuring the “heroic encounter” of a rider with lions (Fig. 22; MarSak 1971, 120; Skupniewicz 2009, 59-60), and several instances of sigillographic cases (Ritter 2008, 189- 199, 293, Tab. XVII, 191-192, 294, Tab. XIX - B6033; Magistro 2000; Begmatov 2020, 9). Naturally, the gem from the Jonathan Rosen Collection repeats the model of the horse standing in the battle scene (Fig. 17; Gaibov and KoSelenko 2013).

FIGURE 16. Anikovska plate from the Hermitage examples provided by Aimone, similar layouts can be observed on the boar hunting scenes in Chal Tarkhan stucco (Harper 1978, 113-112; Skupniewicz 2009), Saksankhur clasp (Marshak 2002, 9, fig. 10; Skupniewicz 2009, 58-59), Sogdian plate in Sasanian style, featuring the “heroic encounter” of a rider with lions (Fig. 22; MarSak 1971, 120; Skupniewicz 2009, 59-60), and several instances of sigillographic cases (Ritter 2008, 189- 199, 293, Tab. XVII, 191-192, 294, Tab. XIX - B6033; Magistro 2000; Begmatov 2020, 9). Naturally, the gem from the Jonathan Rosen Collection repeats the model of the horse standing in the battle scene (Fig. 17; Gaibov and KoSelenko 2013).

FIGURE 17. The scene from the gem from the Jonathan Rosen Collection The Scene of Bear Hunt on the Sasanian Silver Plate ...

FIGURE 17. The scene from the gem from the Jonathan Rosen Collection The Scene of Bear Hunt on the Sasanian Silver Plate ...

Figure 18. the Synya Family plate held behind rider’s body with its tip upward. What seems significant concerning the formula of “The Hunter Is Attacked by Two Beasts Diagonally from below” is that it also shares features with the image of rearing horses, as exemplified by the plate representing Kushanshah Bahram fighting boars from the Hermitage (Fig. 20; Harper and Meyers 1981, 72-74, 224, Pl. 23; Trever and Lukonin 1987, 108). This suggests relative independence of the horse pace from the compositional layout, while the connection with the lance held upward is well attested. It seems, therefore, that “heroic encounters” on standing or slow- pacing horses were likely to be matched with the lances fitting the frames of the Sasanian decorum.

Figure 18. the Synya Family plate held behind rider’s body with its tip upward. What seems significant concerning the formula of “The Hunter Is Attacked by Two Beasts Diagonally from below” is that it also shares features with the image of rearing horses, as exemplified by the plate representing Kushanshah Bahram fighting boars from the Hermitage (Fig. 20; Harper and Meyers 1981, 72-74, 224, Pl. 23; Trever and Lukonin 1987, 108). This suggests relative independence of the horse pace from the compositional layout, while the connection with the lance held upward is well attested. It seems, therefore, that “heroic encounters” on standing or slow- pacing horses were likely to be matched with the lances fitting the frames of the Sasanian decorum.

FIGURE 19. Combat scene on the slab from Taq-e Bostan The Scene of Bear Hunt on the Sasanian Silver Plate ...

FIGURE 19. Combat scene on the slab from Taq-e Bostan The Scene of Bear Hunt on the Sasanian Silver Plate ...

FIGURE 20. Kushanshah Bahram fighting boars encounters” with the beasts.'’ The protagonists are calm and reserved. Although their horses are shown in a flying gallop, the armored riders seem almost immovable. Their opponents tumble helplessly, or are about to collapse after a powerful hit. The entire dynamism is expressed by the defeated one. The victory is seemingly effortless, the viewer cannot, by any means, find any chance for the losers. They are doomed while the winners present themselves straightened up, not losing any drop of dignity.

FIGURE 20. Kushanshah Bahram fighting boars encounters” with the beasts.'’ The protagonists are calm and reserved. Although their horses are shown in a flying gallop, the armored riders seem almost immovable. Their opponents tumble helplessly, or are about to collapse after a powerful hit. The entire dynamism is expressed by the defeated one. The victory is seemingly effortless, the viewer cannot, by any means, find any chance for the losers. They are doomed while the winners present themselves straightened up, not losing any drop of dignity.

The bowl from Vereino (Fig. 23) refers to these models showing the rider on the horse in a flying gallop, holding his lance at the right hip level with both hands and alongside the mount’s neck. The key difference is the posture of the rider that is bent forward as if he is pushing the lance. His head is pushed towards the prey and slightly raised. His knee is bent, framing the horse’s chest and even if the toes point down, they do not form stylized “ballerina foot”, which is typical for the Sasanian toreutic. The style and dynamism reveal the remnants of the Hellenistic traditions molded into Sasanian-inspired formats. Except for the proportions, the rider appears realistic. Another notable difference between this depiction and Sasanian scenes of lance combat is the unusual positioning of he lance, which passes under the horse's head. This suggests that the horse is attempting to urn its head away from the ferocious tiger and place it over the shaft. The same detail is observed in the plate from the Wyvern Collection (Fig. 1). The horse’s mouth crosses over he lance shaft which in turn runs over the rein. The image on the plate bears some relation o the Vereino bowl (Fig. 23), particularly in its depiction of Sasanian lance combat.

The bowl from Vereino (Fig. 23) refers to these models showing the rider on the horse in a flying gallop, holding his lance at the right hip level with both hands and alongside the mount’s neck. The key difference is the posture of the rider that is bent forward as if he is pushing the lance. His head is pushed towards the prey and slightly raised. His knee is bent, framing the horse’s chest and even if the toes point down, they do not form stylized “ballerina foot”, which is typical for the Sasanian toreutic. The style and dynamism reveal the remnants of the Hellenistic traditions molded into Sasanian-inspired formats. Except for the proportions, the rider appears realistic. Another notable difference between this depiction and Sasanian scenes of lance combat is the unusual positioning of he lance, which passes under the horse's head. This suggests that the horse is attempting to urn its head away from the ferocious tiger and place it over the shaft. The same detail is observed in the plate from the Wyvern Collection (Fig. 1). The horse’s mouth crosses over he lance shaft which in turn runs over the rein. The image on the plate bears some relation o the Vereino bowl (Fig. 23), particularly in its depiction of Sasanian lance combat.

FIGURE 22. Sogdian plate with the lion hunt

FIGURE 22. Sogdian plate with the lion hunt

remained vigorous in the area and merged with Sasanian influences in local productions. in obedient, composed profile of other known horses in Sasanian iconography either Horses turning their heads away are quite frequent in Hellenistic and Roman art. Also, : horse displaying such a gesture is depicted on a bowl from Kvacpileevo (MarSak 2017 718, fig. 272). This might lead to the conclusion that Hellenistic aesthetic tradition remained vigorous in the area and merged with Sasanian influences in local productions. In search for the Sasanian origins of the scene discussed in this paper, it is crucial to examine the images of protagonists on foot and armed with spears fighting beasts. Within this thematic group, a distinction must be made between two categories: 1) a “realistic” depictions of hunters, which are clearly directed toward the prey, slightly bent toward it, standing on spread legs with knees bent in order to generate maximum energy (Skupniewicz 2009, 52-56); 2) the other group consists of “royal” or “princely” images, where the crowned protagonist stands tall, equally unimpressed by the approaching beasts as their mounted counterparts (Skupniewicz 2009, 50-52). The impression of disdain seems even greater in the depictions of hunters on foot because of the proximity of the

remained vigorous in the area and merged with Sasanian influences in local productions. in obedient, composed profile of other known horses in Sasanian iconography either Horses turning their heads away are quite frequent in Hellenistic and Roman art. Also, : horse displaying such a gesture is depicted on a bowl from Kvacpileevo (MarSak 2017 718, fig. 272). This might lead to the conclusion that Hellenistic aesthetic tradition remained vigorous in the area and merged with Sasanian influences in local productions. In search for the Sasanian origins of the scene discussed in this paper, it is crucial to examine the images of protagonists on foot and armed with spears fighting beasts. Within this thematic group, a distinction must be made between two categories: 1) a “realistic” depictions of hunters, which are clearly directed toward the prey, slightly bent toward it, standing on spread legs with knees bent in order to generate maximum energy (Skupniewicz 2009, 52-56); 2) the other group consists of “royal” or “princely” images, where the crowned protagonist stands tall, equally unimpressed by the approaching beasts as their mounted counterparts (Skupniewicz 2009, 50-52). The impression of disdain seems even greater in the depictions of hunters on foot because of the proximity of the

FIGURE 24. Protagonist fighting bear in Sasanian iconography

FIGURE 24. Protagonist fighting bear in Sasanian iconography

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