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Datacja reliefów Szapura I

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Maksymiuk K.

Historia i Świat

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2012

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issue 1

13-43

EN

It is assumed that eight Sasanid reliefs were carved during the reign of Shapur I in 242 – 272. There is no doubt that seven of them: NRb I, NRb IV, NRm VI, VŠ I, VŠ II, VŠ III as well as that one from Rag-i Bibi depict the ruler. Identification of the king in relief from Darabgerd is subject of further disputes. What enforces dating reliefs at Naqsh-i Rajab to 242 – 244 is lack of portrayals of enemies defeated by Shapur. Starting point for more precise dating of so called triumph reliefs is identification of persons appearing in them. There is no doubt about the relief at Naqsh-i Rustam. On the basis of ŠKZ text one ought to assume that it shows Philip the Arab and Valerian thus it should be dated to 260 – 272. The problem is over dating of reliefs at Bishapur. Damages of VŠ I relief allow only identification of Philip the Arab and Gordian III that is why dating can be precise to solely 244-272. Lively discussion elicit another two reliefs of Shapur I at Bishapur . One of the most interesting hypotheses seems to be thesis advanced by B. Overlaet that Uranius Antoninus is the figure standing next to the king. Recognition of black stone of Emesa in VŠ III relief maintains the thesis. As far as stone identification seems to be sure one should deliberate if Shapur I would place in the relief a person recognized by him as not equal to himself. It is unlikely from propaganda viewpoint. In that case we can refer to the king relation to Septimius Odenathus with whom he even did not start dialog. If we interpret the arrangement of relief we have to point that its composition refers to sculptures from Apadana in Persepolis. In the context of military activities and devastations of Syria by Persian forces one should not be astonished at symbolic representation of bringing gifts Syrians. For late dating of triumph reliefs indicates their asymmetrical composition which is untypical in case of Persian sculptures. One should recognize that they could be carved by Roman craftsmen deported by Shapur I during wars with western neighbour. Anyway it does not help in more precise dating because first deportation took place already in 253. Taking Valerian as prisoner seems to be the most important success of Shapur I. The emperor undoubtedly was residing at Bishapur so in a natural way he was put in both VŠ II and VŠ III reliefs what allows their dating to 260-272. The above mentioned speculations do not make easier dating of the most controversial relief from Darabgerd what will be undoubtedly subject of future disputes.

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Sasanian horse armor

86%

Skupniewicz P.

Historia i Świat

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2014

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issue 3

35-59

EN

The goal of the paper is to define general types and the evolution of horse armor employed by elite warriors of Sasanian Iran, basing on literary sources and iconographical evidence with minor reference to archaeological finds in wider Eurasian perspective. The horse armor was an important part of cavalry equipment already in the chariot warfare however its re-emergence in mounted combat occurred when heavy cavalry was developed. The article divides Sasanian horse armor into several groups: 1. One-piece body protection, which overall cover mounts body the way modern horse blankets do. Within the group one may find following subgroups: 1.a Caparisons – known from numerous works of art (rock reliefs illustrating scenes of mounted combat at Firusbad and Nakš e Rostam as well as the on so-called Shapur cameo currently held in Louvre) having long Near Eastern and Eurasian tradition. 1.b Scale barding – which in fact is a sort of caparison covered with metallic scales sewn onto textile horse blanket, testified by literary sources, known from archaeological evidence from Dura Europos (despite the fact that these examples belonged to Roman cavalry, it is clear that they were fashioned in Iranian manner). Scale bardings of the type are known also from the works of art like graffito from Dura Europos, Trajan’s column, sculpture of Khalchayan and late Parthian Tang e Sarvak frieze. 1.c Chain mail horse armor – lacking strong and direct evidence from Sasanian period, iconography which may depict horses protected with chain-mail is rather crude however despite hypothetical nature, this sort of horse armor is very likely employed in Sasanian warfare. 2. Bardings composed of multiple elements and fragmentary bardings covering a part of the mount. Again these this group can be divided into two sub-groups: 2.a Full lamellar/laminar barding – can be identified on the sculpture of Khalchayan and late Parthian frieze Tang e Sarvak as well as on the seals of Late Sasanian spahbedan. They find numerous Central Asian (Old Turkic) and Far Eastern refernces. 2.b Fragmentary barding, best known from Taq e Bostan sculpture of an equestrian figure but with Central Asian, Chinese and Byzantine references. Following phases of barding development in ancient and early mediaeval Iran can be determined: 1. Late Achaemenid when armored cavalry required some protection for horses after employing shock tactics and subsequent close combat. 2. Mid Parthian, influenced by invasions of the steppe dwellers initiated by Xiong Nu expansion. Developed locally later. 3. Late Sasanian – resulting from contacts with Turkic warriors who transmitted some Eastern military technologies to Iran and through Avar influence to Europe.

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Przedstawienie irańskich końskich pancerzy w azerbejdżańskim romansie Varqa i Gulshah z początku 13 wieku. O sasanidzkiej? genezie elementu końskiego oporządzenia w okresie seldżuckim

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Kubik A.

Historia i Świat

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2014

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issue 3

61-71

EN

The richly illustrated 13th century Seljuk manuscript Varqa and Gulshah from Azerbaijan provides a number of lavish miniatures, some depicting armored warriors riding horses covered with richly decorated caparisons. The illustrations show that the long caparisons were multi-layered, an indication that they were designed to provide offer some protection for the mounts. Despite the scholars’ opposing opinions, the author maintains that caparisons were well established in Islamic armies as attested by literary sources and iconography. Moreover, the existence of rich terminology concerning different types of horse armor clearly evidences the relative popularity of horse protection. Although the bardings had been were known in by various cultures for in the millennia before the Seljuks, however, the direct inspiration for the appearance of caparisons at that time should must be associated with the Sasanian tradition. Furthermore, the article discusses protective properties qualities of caparisons in which these were provided in a variety of fashions. Firstly, protection was provided could be afforded simply by padding consisting of using a number of textile layers. For instance, metallic armor such as maille or leather armor such as lamellar could have been were stitched into the padded or fabric barding. The – the former is attested in the Islamic world but can be traced back to earlier Iranian traditions.; The evidence for the latter type comes is evidenced from Firuzabad reliefs. However, scattered metal plates attached to the caparisons in random patterns, do not seem to have had any protective function; value they and were merely a the part of decoration. Post-Sasanian origin of Seljuk protective caparisons should be found well evidenced and most probable.

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Datacja reliefów Szapura I

Sasanian horse armor

Przedstawienie irańskich końskich pancerzy w azerbejdżańskim romansie Varqa i Gulshah z początku 13 wieku. O sasanidzkiej? genezie elementu końskiego oporządzenia w okresie seldżuckim