Beate Dignas & Engelbert Winter - Kaveh Farrokh

66 2 Warfare
Maurice was indeed the author of the work but it is fairly certain that the
text originates from some time between the end of the sixth and the beginning
of the seventh century. The confrontations with the Islamic Arabs that
began in the 630s are not mentioned. 8 Although the so called Strategikon of
Maurice is one of many comparable military treatises that were composed
in the early Byzantine period, 9 it stands out as one of the most important
works and adheres to the reality of its time in an exceptional way. Moreover,
it is of special value because of its detailed descriptions of foreign peoples
and possible opponents, such as the Avars, Slavs and Persians, which provide
us with important historical and ethnographical information.
Both texts give insight into the character of Persian armament and battle
techniques as well as tactical counter-measures adopted by the Byzantine
army. 10 The extremely detailed descriptions of Sasanian armament, techniques
and strategies are vivid and accurate, which surprises and impresses
the reader. Many of the observations correspond not only with the late
antique accounts of particular battles between Byzantium and the Persian
Empire 11 but also with the numerous visual testimonies. Many Sasanian
silver bowls, finest examples of Persian art and culture, represent the king
in full armour and engaged in hunting. 12 The depicted equestrian statue is
most likely that of the Sasanian ruler Xusrō II (590–628) 13 because it was
found in the grotto of Taq-i Bustan (map 5), 14 immediately below the rock
relief representing the investiture of this king. It is not only one of the most
important monuments of Sasanian art 15 but also the latest one among the
known Sasanian rock reliefs (fig. 3).
The equestrian statue shows the king in full armour. 16 He is armed like a
clibanarius of the heavy Sasanian cavalry. The equipment of both rider and
horse are visible in all details. In 1821 Sir Robert Ker-Porter made a drawing
of the relief to illustrate his book Travels in Georgia, Persia, Armenia and
Ancient Babylonia; in its own way it conveys a good impression of both
8 For a discussion of the date and authorship see Whitby 1988: 242.
9 Hunger 1978: 329–30.
10 Cf. e.g. Speidel 1984: 151–6 and Negin 1995: 65–75.
11 Greatrex and Lieu 2002: 179 and 297 n. 92; Greatrex 1998: 169–85 and 195–207; Wiita 1977:
53–111.
12 For the most important examples see Ghirshman 1962: figs. 207–11; 247–54; see also Peck 1969:
101–46; Tanabe 1981: 105–18; Wilcox and McBride 1986: 36–48; Harper 1983: 1113–29.
13 Several scholars have attributed this rock relief to king Pērōz (459–84); cf. Ghirshman 1962: 193; on
the interpretation of this relief see also Shepherd 1983: 1086–89.
14 Ghirshman 1962: fig. 235; on the significance of Taq-i Bustan as a place for royal self-representation
see the references pp. 92–3 nn. 87–90.
15 Fukai and Horiuchi 1962–72; Fukai 1972. 16 See also Wilcox and McBride 1986: 41.