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The bullae of the spahbedan. Some iconographic remarks

100%

SKUPNIEWICZ P.

Historia i Świat

2017

issue 6

107-120

The seals of Sasanian highest military officials, the spahbedan which contain depiction of armoured rider create consistent iconographic group. It is possible however to distinguish five sub-groups within it, which in turn might serve as supplementary argument for their chronology or might suggest differentiation of the role of the office in time. The iconography of the spahbedan is related to 3-5th century, Roman models of imperial adventus which seems adequate for high ranking officers who needed iconographic layout emphasizing power however not entering royal prerogative. Iconography of the sovereigns of the neighboring power suited that goal well. Stylization of the arms and armour depicted on the spahbedan seals and small size of the objects do not allow firm identification of the types however it is clear that the more realistic tendency in depicting armament, typical for Late Sasanian period and contrasting with stylized and symbolic functions of earlier official art, prevailed.

Analiza powstawania synkretycznych stylów zdobniczych w Azji Środkowej w VI-VIII w. n.e. na podstawie tkanin z Kotliny Turfańskiej

88%

Kossowska D.

Studia Azjatystyczne

2015

issue 1

25-49

In the 8th century in Byzantine, Arabic and Chinese workshops weavers produced weft-faced compound twill silks (samits). These textiles were ornamented by confronted animals surrounded by pearls roundels. Usually, a rosette motive was placed between medallions. This design is a compilation of Sasanian (animals decorated with floating ribbons, pearl roundels) and Chinese patterns (symmetricalness, rosettes, ‘scrolled leaves’ motive). Its emergence took place in Central Asia. Some scholars think that it happened in Sogdiana, but the oldest samples of textiles made in the new tradition were found in Astana cemetery in Turfan Oasis (East Turkestan). Moreover, these textiles were warp-faced compound tabby – a weave technique characteristic of Chinese workshops. At first their composition was more Chinese than Sasanian, but successive Persian motives were more common. The most popular design was pearl roundels containing a confronted Pegasus standing on “a scrolled, pointed leaves in profile”. There is a large possibility that textiles found in Astana were produced locally in East Turkestan, probably in Turfan Oasis, which is located on the north branch of Silk Road. It was inhabited by a local community, but also by Sogdian and Chinese merchants. This cooperation could have led to syncretism in art and technical changes.

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1 Historia i Świat

1 Studia Azjatystyczne

1 2017

1 2015

1 Kossowska D.

1 SKUPNIEWICZ P.

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The bullae of the spahbedan. Some iconographic remarks

Analiza powstawania synkretycznych stylów zdobniczych w Azji Środkowej w VI-VIII w. n.e. na podstawie tkanin z Kotliny Turfańskiej