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Iranians and Greeks in South Russia - Robert Bedrosian's Armenian ...

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io8 THE SCYTHIANS IN THE<br />

we<br />

(pi. XVIII, 4, <strong>and</strong> p. 130, fig. ; 17) <strong>and</strong> <strong>in</strong> plaster on Panticapaean<br />

coff<strong>in</strong>s of the Roman period. The serpent-footed goddess is an old<br />

Ionian type, a variant of Medusa. It is rare <strong>in</strong> archaic Ionian monuments<br />

: I know but two examples, an archaic vase-h<strong>and</strong>le of bronze<br />

<strong>in</strong> the Museum at Nimes, its fellow <strong>in</strong> the British Museum, <strong>and</strong><br />

a well-preserved archaic vase, with the same k<strong>in</strong>d of h<strong>and</strong>les, <strong>in</strong> Berl<strong>in</strong>.<br />

But the type was adapted by Greek artists to the beliefs of the<br />

Scythian <strong>and</strong> Maeotian tribes, <strong>and</strong> became extremely popular <strong>in</strong> the<br />

<strong>Russia</strong>n steppes <strong>and</strong> nowhere else.<br />

To conclude our survey of the religious scenes, I will mention the<br />

plaques represent<strong>in</strong>g the Great Goddess accompanied by her sacred<br />

animals, the raven <strong>and</strong> the dog (pi. XXIII, 5), <strong>and</strong> the plaque with<br />

a wrestl<strong>in</strong>g contest between two Scythians, no doubt <strong>in</strong> honour of the<br />

same deity (pi. XXIII, 6). In a word :<br />

see that <strong>in</strong> the h<strong>and</strong>s of<br />

Greek artists, the aniconic Iranian religion, as described by Herodotus,<br />

becomes peopled with div<strong>in</strong>e images, created by the Greek artists<br />

<strong>and</strong> no doubt accepted by the Scythian devotee. In creat<strong>in</strong>g these<br />

images, the artists seem to have been <strong>in</strong>spired by very ancient representations<br />

of Oriental div<strong>in</strong>ities, such as the seated goddess with a vase<br />

<strong>in</strong> her h<strong>and</strong>, a type which is<br />

times.<br />

found <strong>in</strong> Babylonia from the remotest<br />

Let us now pass to social <strong>and</strong> economic life. The warlike activity<br />

of the rul<strong>in</strong>g class was a favourite subject with the artists who worked<br />

for the Scythians. Battle scenes are common everywhere : fights<br />

between Scythians <strong>and</strong> their enemies, Scythians of other tribes,<br />

Thracians, Maeotians : enough to cite the Solokha comb (pi. XIX)<br />

<strong>and</strong> the gorytus from the same grave (pi. XXI, i). Hare-hunts,<br />

<strong>and</strong> hunt<strong>in</strong>g <strong>in</strong> general (pi. XX, i, 2), are no less frequent : this<br />

was the most usual form of sport among the Scythians : it tra<strong>in</strong>ed<br />

them to hit a mov<strong>in</strong>g adversary at full gallop. More <strong>in</strong>terest<strong>in</strong>g are<br />

the scenes on two spherical vases ; one, of silver, from Voronezh, the<br />

other, of electrum, from Kul-Oba. The scene on the Voronezh vase<br />

is a peaceful one : Scythian warriors <strong>in</strong> conference ; an old warrior<br />

<strong>in</strong>struct<strong>in</strong>g a youth <strong>in</strong> the use of the bow, the pr<strong>in</strong>cipal weapon of the<br />

Scythians : a Scythian camp on the eve of an expedition. The Kul-<br />

Oba vase (pi. XXII) shows the same camp after the battle : the<br />

k<strong>in</strong>g receiv<strong>in</strong>g a report from a messenger, wounded warriors attended<br />

by their comrades—a leg-wound be<strong>in</strong>g dressed, an operation for a<br />

mouth wound. Both vases are <strong>in</strong>terest<strong>in</strong>g for their style <strong>and</strong> their<br />

<strong>in</strong>spiration : they provide, as it were, illustrations to the account of<br />

Ephorus, who was the first to idealize the Scythian social system, as<br />

an example of communism on a democratic basis : the same motive

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