|
iii.
IRANIAN
ELEMENTS
IN
GEORGIAN
ART
AND
ARCHEOLOGY
Ancient
Georgian
tribes
had
close
cultural
contacts
with
Near
Eastern
civilizations
from
the
18th
century
B.C.E.
(Figure
3),
as
evidenced
by
the
gold
figurine
of
a
stag
(Sumerian
influence)
and
the
silver
bowl
with
two
friezes
of
relief
decoration
of
a
procession,
and
"tree
of
life"
and
animals
(Hittite
artistic
traditions)
from
the
Trialeti
mound
(Miron
and
Orthmann,
pp.
30,
32).
Iranian
elements
appeared
from
the
middle
of
the
2nd
millennium
B.C.E.,
as
they
did
in
the
art
of
the
entire
Caucasian
region.
Some
objects,
such
as
a
bronze
rhyton
from
eastern
Georgia
(Miron
and
Orthmann,
p.
270,
n.
196)
were
brought
from
the
territory
of
ancient
Iran,
while
bronze
animal-
and
disc-headed
pins,
as
well
as
pendant
bells
and
openwork
birds,
were
derived
from
ancient
Iranian
styles
(Miron
and
Orthmann,
pp.
248,
264-66).
Daggers,
swords,
axes,
adzes,
pick-axes,
and
bidents
also
have
close
Iranian
parallels
(Miron
and
Orthmann,
pp.
243-45,
322-24;
Moorey,
pls.
1-7;
Haerinck,
pl.
65).
Iranian
elements
continued
to
appear
in
weapons,
horse
harnesses,
and
bronze
ornaments
until
the
end
of
the
2nd
and
the
beginning
of
the
1st
millennium
B.C.E.
(Pogrebova,
1977,
pp.
33-84;
Tsetskhladze,
1999,
pp.
478-82),
but
the
vast
majority
of
objects
date
from
the
8th-7th
centuries
B.C.E.
when
the
influence
of
the
Luristan
bronzes
is
clearly
noticeable
(Pogrebova,
1984).
On
bronze
belts
there
are
fantastic
animals,
people,
and
hunting
scenes
(Miron
and
Orthmann,
pp.
118-19,
286-87;
Urushadze,
pp.
128-35;
Mikeladze,
1995),
and
the
image
of
two
animals
facing
one
another
is
found
on
pendants
(Miron
and
Orthmann,
p.
249;
Pogrebova,
1984,
p.
133).
From
Vani
(western
Georgia)
originate
clay
figurines
of
two-
or
three-headed
fantastic
animals,
animal-headed
axes,
etc.
(Miron
and
Orthmann,
pp.
144,
284,
n.
230;
Mikeladze,
1990,
pl.
xviii;
Lordkipanidze,
1995,
pp.
41-48;
Moorey,
p.
233;
Muscarella,
pp.
270-72).
In
this
period
a
very
distinctive
shape
of
pottery,
namely
jugs
with
tubular
handles
(Mikeladze,
1990,
pl.
xv;
Figure
5c),
which
is
well-known
from
northwestern
Iran
(Ghirshman,
p.
128;
Dyson,
1965,
fig.
7;
Tuba
Ökse,
pp.
55,
59),
appeared
in
Colchis
(western
Georgia).
Another
type
of
pottery,
legged
pots
with
wave
ornament,
must
also
have
come
to
Colchis
from
Iran
(Carter,
p.
90).
Gold
beads,
earrings,
plates
with
animal
decoration
and
pendants
with
granulations
from
Georgia,
dating
from
the
10th-6th
centuries
B.C.E.,
have
many
features
in
common
with
gold
objects
of
the
same
type
from
northern
and
western
Iran
(Gagoshidze,
1985,
pp.
48-57).
It
is
very
difficult
to
demonstrate
how
these
Iranian
elements
penetrated
Georgian
art.
It
is
possible
that
there
was
some
Iranian
migration
to
the
territory
of
ancient
Georgia,
but
it
seems
more
likely
that
these
elements
came
through
the
neighboring
state
of
Urartu
(to
Urartu
can
be
traced
the
appearance
of
red-clay
pottery
in
eastern
Georgia;
Muskhelishvili,
pp.
17-30),
and
later
through
the
Scythians
who
returned
from
the
Near
East
by
way
of
Colchis,
some
of
them
settling
there
(Pogrebova,
1984,
p.
206;
Tsetskhladze,
1995,
pp.
314-15).
At
the
end
of
the
6th
century
the
Colchian
kingdom
was
established
in
western
Georgia,
and
in
the
4th
century
B.C.E.
the
Iberian
state
was
formed
in
eastern
Georgia
(O.
Lordkipanidze,
1979,
pp.
48-73;
Melikishvili,
pp.
245-60;
(Figure
3).
According
to
Herodotus
(3.97,
7.79),
Colchis
was
not
directly
incorporated
into
the
Persian
Empire
as
one
of
its
satrapies,
but
it
paid
tributes
and
was
required
to
render
gifts.
It
also
provided
auxiliary
troops
when
required
to
do
so.
Probably,
Colchis
was
used
by
Persians
as
a
buffer
state
between
their
empire
and
the
nomads
of
the
southern
Caucasus;
Persian
kings
gave
luxurious
diplomatic
gifts
(Tsetskhladze,
1993-94,
pp.
26-31;
cf.
Herodotus,
3.20-21,
7.116,
9.20;
Xenophon,
Anabasis
1.2.27,
1.8.28-29;
idem,
cyropaedia
8.2.7,
8.3.1,
8.3.3)
to
the
Colchian
rulers
and
elite.
This
is
witnessed
by
the
finds
in
the
rich
graves
of
the
local
elite
in
Vani
and
Sairkhe:
gold
Achaemenid
bracelets,
earrings,
a
pectoral,
a
phiale
and
bridle
ornaments
(three
round
cheek-plates
with
schematic
depictions
of
Ahura
Mazda@;
Figure
5a
;
see
Nadiradze,
pp.
55-57),
silver
phialai
(Figure
6a),
cups,
a
jug
and
a
rhyton
(Figure
5b),
a
glass
perfume-bottle
and
phiale
(Makharadze
and
Saginashvili;
Figure
6c
),
bronze
and
iron
armor,
bridle
bits,
etc.
(Gigolashvili).
All
of
these
date
from
the
middle
5th
to
early
3rd
century
B.C.E.
and
were
probably
manufactured
in
one
of
the
satrapal
production
centres.
Gold
diadems
from
Vani
have
plaques
with
relief
scenes
of
animals
fighting,
a
motif
so
common
in
Iranian
art
(Tsetskhladze,
1993-94,
pp.
11-49
with
illustrations).
These
burials
also
contain
seals
and
gems
in
the
Graeco-Persian
style
(M.
Lordkipanidze,
1975,
pp.
109-12).
Excavation
of
Sairkhe
yielded
a
stone
Doric
capital
decorated
in
relief
with
broad
water
lily
leaves
(Kipiani,
pp.
15-22;
Shefton,
pp.
179-86;
Figure
7a
).
Here
another
capital,
a
bull-protome,
was
found
(Kipiani,
pp.
12-15;
Figure
7b).
Both
capitals
date
from
the
5th-4th
centuries
B.C.E.
and
probably
indicate
the
presence
of
some
Achaemenid
architects
who
decorated
buildings
for
the
local
elite
in
the
style
of
Persian
court
art.
A
3rd
century
B.C.E.
stamp
on
Colchian
amphorae,
representing
the
impression
from
a
seal
and
depicting
a
horseman
with
a
star,
the
crescent
moon,
and
bird,
demonstrates
the
penetration
of
the
cult
of
Mithras
into
Colchis
(Tsetskhladze,
1992,
pp.
115-22).
From
the
4th
century
B.C.E.
jar
burials
began
to
appear
in
Colchis
and
throughout
Transcaucasia
including
Iberia,
which
may
serve
as
an
indication
of
Achaemenid
expansion
in
this
region
(Noneshvili,
pp.
12-54).
The
culture
of
Iberia
shows
a
much
stronger
Achaemenid
influence
than
Colchis
does.
Although
it
is
not
clear
whether
Iberia
was
part
of
one
of
the
satrapies
of
the
Achaemenid
Empire
(Cook,
pp.
78-79),
archeological
material
enables
us
to
suppose
that
it
was.
Some
scholars,
not
without
grounds,
suppose
the
existence
of
local
Iberian
Achaemenid
provincial
workshops
for
the
production
of
metal
objects,
including
jewelry
(Gagoshidze,
1996).
It
is
possible
that
the
so-called
palace
of
the
5th-4th
centuries
B.C.E.
with
Achaemenid
stone
column
bases
(Furtwängler,
pp.
190-91,
figs.
10-11),
which
has
been
investigated
in
Gumbati,
was
the
residence
of
the
local
Iberian
satrap
(Knauss,
pp.
85-92).
The
well-known
Akhalgori
treasure,
as
well
as
treasures
from
Tsinskaro
and
Kazbegi,
contain
many
Achaemenid
objects
(Smirnow,
pp.
5-20;
Survey
of
Persian
Art,
Pls.
118-19;
Melikishvili,
pp.
248-50).
Achaemenid
phialai
are
found
in
rich
burials
(Gagoshidze,
1964,
pp.
66-69).
Excavation
of
recent
years
has
yielded
glass
perfume-bottles
as
well
(Kacharava,
p.
85,
fig.
11).
Ancient
Iranian
silver
and
clay
vessels
had
a
strong
influence
on
Iberian
local
pottery.
Clay
imitations
of
Achaemenid
phialai
and
rhytons
are
found
at
many
sites
(Narimanishvili,
pp.
47-50;
Gagoshidze,
1979,
pp.
81-84;
Furtwängler,
pp.
197-98,
figs.
13.3,
14.1;
Figure
10).
From
the
4th
century
B.C.E.
large
and
small
red
painted
vessels
became
widespread;
they
were
decorated
with
animals,
hunting
and
fighting
scenes,
geometric
patterns
(this
type
of
pottery
is
also
known
from
the
Colchian
hinterland
not
far
from
the
Iberian
border;
Miron
and
Orthmann,
pp.
133,
159-60;
Gagoshidze,
1979,
pp.
88-95;
Narimanishvili,
pp.
69-79;
see
Figures
9a,
10
-
11
).
The
shape
of
pottery
jugs
with
pairs
of
animal
handles
is
another
indication
that
Iberia
was
one
of
the
Achaemenid
satrapies
in
the
classical
period
(Narimanishvili,
pp.
282-83;
Figure
11).
This
shape
survived
in
Iberia
until
the
1st
century
B.C.E.,
e.g.,
the
ram-shaped
handle
from
Samtavro
(Miron
and
Orthmann,
p.
171).
It
is
thought
that
in
the
5th
century
B.C.E.
there
were
special
workshops
that
produced
gems
in
the
Achaemenid
style
(M.
Lordkipanidze,
p.
116).
The
architecture
of
Iberia
provides
further
examples
of
the
presence
of
Iranian
elements.
Examples
include
a
bull-protome
capital
from
Tsikhiagora
(Figure
8a)
and
capitals
decorated
in
relief
with
lotus
leaves
from
Dedoplis
Mindori
(Figure
8b
),
Shiogvime,
and
Sarkine,
all
of
which
date
from
the
Hellenistic
period
(Kipiani,
pp.
6-11,
49-58;
Miron
and
Orthmann,
p.
170).
It
is
thought
that
the
capitals
were
used
in
temples
dedicated
to
fire-worship
(Gagoshidze,
1979,
pp.
21-23;
Kimsiasvili
and
Narimanisvili).
Excavation
in
Dedoplis
Mindori
yielded
even
more
important
material
dating
from
the
1st-2nd
centuries
C.E.,
including
a
royal
palace
complex
with
a
temple
complex
where
fire
was
worshipped
(Figure
8c)
and
bone
plates
for
playing
cards,
with
depictions
of
animals,
hunting
scenes,
and
Aramaic
inscriptions
(Gagoshidze,
1992,
pp.
27-48;
Figure
12).
Another
temple
for
fire-worship
was
found
in
Samadlo,
dating
from
the
4th-2nd
centuries
B.C.E.
(Gagoshidze,
1979,
pp.
25-30,
65-66).
An
important
find
there
was
limestone
fragments
with
relief
scenes
of
mounted
hunters
pursuing
a
ram
(Figure
9b).
Stylistically,
it
probably
belongs
to
the
end
of
the
Achaemenid
period.
This
relief
was
used
to
decorate
either
the
walls
of
a
monumental
building
or
an
altar
in
a
temple
for
fire-worship
(Gagoshidze,
1979,
pp.
65-66;
idem,
1981,
pl.
xix,
no.
236).
Iranian
elements
are
visible
also
in
palace
architecture,
e.g.,
in
Mtskheta,
capital
of
the
Iberian
kingdom,
where
capitals
in
the
royal
palace
show
Iranian
influence
(Lezhava,
pl.
lix,
no.
5;
Figure
8d).
From
the
first
centuries
C.E.,
the
cult
of
Mithras
and
Zoroastrianism
were
commonly
practiced
in
Iberia.
Excavation
of
rich
burials
in
Bori,
Armazi,
and
Zguderi
has
produced
silver
drinking
cups
with
the
impression
of
a
horse
either
standing
at
a
fire-altar
or
with
its
right
foreleg
raised
above
the
altar
(Machabeli,
pls.
37,
51-54,
65-66).
The
cult
of
Mithras,
distinguished
by
its
syncretic
character
and
thus
complementary
to
local
cults,
especially
the
cult
of
the
Sun,
gradually
came
to
merge
with
ancient
Georgian
beliefs.
It
is
even
thought
that
Mithras
must
have
been
the
precursor
of
St.
George
in
pagan
Georgia
(Makalatia,
pp.
184-93).
Step
by
step,
Iranian
beliefs
and
ways
of
life
penetrated
deeply
the
practices
of
the
Iberian
court
and
elite:
the
Armazian
script
and
"language,"
which
is
based
on
Aramaic
(see
Tsereteli),
was
adopted
officially
(a
number
of
inscriptions
in
Aramaic
of
the
Classical/Hellenistic
periods
are
known
from
Colchis
as
well;
Braund,
pp.
126-27);
the
court
was
organized
on
Iranian
models,
the
elite
dress
was
influenced
by
Iranian
costume,
the
Iberian
elite
adopted
Iranian
personal
names
(Braund,
pp.
212-15),
and
the
official
cult
of
Armazi
(q.v.)
was
introduced
by
King
Pharnavaz
in
the
3rd
century
B.C.E.
(connected
by
the
mediaeval
Georgian
chronicle
to
Zoroastrianism;
Apakidze,
pp.
397-401).
Iranian
elements
in
ancient
Georgian
art
and
archeology
gradually
ceased
from
the
4th
century
C.E.
when
Christianity
became
the
official
religion
of
the
Georgian
states.
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