This is the first major work to attempt a comprehensive survey of the Arab-Sasanian silver coinage since Walker’s 1941 Catalogue of the British Museum collection. It includes the latest research on the subject, both historical (chapters 1 to 4) and numismatic (chapter 5 to 15). All the coins (over 1,600), both silver drachms and copperfulus, in the Johnson collection are illustrated on the excellent plates. Where thJohnson collection does not have a specimen of an important coin an example is illustrated from another source, making this a truly important work
The extensive chapters on the persons named on the coins, the mints, and the Pahlavi, Arabic and Sogdian legends, make this an invaluable historical source. Other chapters discuss the copper issues with theirvaried designs, the eras and dates used, metrology, coins struck in the east in Sīstān and further north by the Hephthalites, and counter marks, as well as the designs found on the silver drachms. All Pahlavi and Arabic legends (mints, persons named, religious and other marginal legends, dates) are written out as theyappear on the coins in extensive tables. This makes it possible for a beginner in the series to read thesesometimes difficult legends.
Dedicated to Getzel M. Cohen, a leading expert in Seleucid history, this volume gathers contributions on Seleucid history, archaeology, numismatics, political relations, policy toward the Jews, Greek cities, non-Greek populations, peripheral and neighboring regions, imperial administration, economy and public finances, and ancient descriptions of the Seleucid Empire. The reader will gain an international perspective on current research.
Aramaic language(s) in its four phases with different scripts on various materials have been found in Iran (mostly from the western part of the land where Aramaic-speaking communities lived). Aramaic language traces in the Iranian world have remained in a large diversity on the coins. Besides some reigns whose coins bear Aramaic phrases, some others just minted coins with Aramaic derived legends and/or used ideograms on their coins. Almost from 3th BC to 10th centuries AD Aramaic words with Aramaic, Pah-lavi, Parthian, Sogdian and Chorasmian legends used as ideograms in the coinage. Due to producing ideograms, it is impossible to read the original pronunciation of the words but this heritage can introduce а concept of a larger Aramaic presence in the Iranian world. The earliest type of ideograms on the coins can be found on Fratarkā’s coinage in the Pārs province roughly from 3th BC and the latest belongs to Būyids’ amir of the 10th century, Rokn al-Dawla, who ruled in Rayy (al-Muḥammadiya). During this period, circa 1300 years, some dynasties struck their own coins with ideograms in a large territory from the Middle East to Transoxania and another one also used these coins in their daily deals as a currency.
Bei den sowjetischen archäologischen Ausgrabungen von Marw kamen zum ersten Mal etliche Bronzemünzen des sasanidischen Königs Pērōz (457–484) zum Vorschein, auf deren Rückseite die Münzstättensigle AMW belegt ist. S. D. Loginov und A. B. Nikitin identifizierten diese Sigle mit der Provinzhauptstadt Āmol in Tabaristān. Die erste sichere Münzen vom Münzamt Āmol in Tabaristān sind jedoch während der ersten Regierung des Kawād I. (488–496) mit der Signatur AM geprägt. Laut historischen Quellen war Tabaristān seit dem Anfang der Sasanidenzeit bis zum Ende der Regierung des Pērōz ein fast unabhängiges Fürstentum unter der lokalen Herrscherfamilie der Gušnaspiden, die von Kawād gestürzt wurde. Die unter Pērōz mit der Münzstättensignatur AMW geprägte Bronzemünzen sind eigentlich bisher nur in Marw gefunden und daher kann man diese Münzstätte nicht in Tabaristān, sondern in einem gleichnamigen Ort in Zentralasien, östlich von Marw, lokalisieren. Aber warum prägte Pērōz Bronzemünzen in diesem Ort und wieso hatte diese Münzstätte nach der Regierung des Pērōz keine Aktivität mehr?
Following her bestselling Life Along the Silk Road, Susan Whitfield widens her exploration of the great cultural highway with a new captivating portrait focusing on material things. Silk, Slaves, and Stupas tells the stories of ten very different objects, considering their interaction with the peoples and cultures of the Silk Road—those who made them, carried them, received them, used them, sold them, worshipped them, and, in more recent times, bought them, conserved them, and curated them. From a delicate pair of earrings from a steppe tomb to a massive stupa deep in Central Asia, a hoard of Kushan coins stored in an Ethiopian monastery to a Hellenistic glass bowl from a southern Chinese tomb, and a fragment of Byzantine silk wrapping the bones of a French saint to a Bactrian ewer depicting episodes from the Trojan War, these objects show us something of the cultural diversity and interaction along these trading routes of Afro-Eurasia.
Susan Whitfield, author of Life Along the Silk Road, is a scholar, curator, writer, and traveler who has been exploring the history, art, religions, cultures, objects, exploration, and people of the Silk Road for the past three decades.
This volume, being the proceedings of the first international workshop of the Gandhāra Connections Project, which took place 23rd-24th March, 2017, at the University of Oxford, is available as an open access eBook and in print.
Since the beginning of Gandhāran studies in the nineteenth century, chronology has been one of the most significant challenges to the understanding of Gandhāran art. Many other ancient societies, including those of Greece and Rome, have left a wealth of textual sources which have put their fundamental chronological frameworks beyond doubt. In the absence of such sources on a similar scale, even the historical eras cited on inscribed Gandhāran works of art have been hard to place. Few sculptures have such inscriptions and the majority lack any record of find-spot or even general provenance. Those known to have been found at particular sites were sometimes moved and reused in antiquity. Consequently, the provisional dates assigned to extant Gandhāran sculptures have sometimes differed by centuries, while the narrative of artistic development remains doubtful and inconsistent.
Building upon the most recent, cross-disciplinary research, debate and excavation, this volume reinforces a new consensus about the chronology of Gandhāra, bringing the history of Gandhāran art into sharper focus than ever. By considering this tradition in its wider context, alongside contemporary Indian art and subsequent developments in Central Asia, the authors also open up fresh questions and problems which a new phase of research will need to address.
Rika Gyselen; Malek Iradj Mochiri together with Hendrik Hameeuw: “Une collection de monnaies sassanides de billon, de cuivre et de plomb”
Rüdiger Schmidt: “Zu Lesung und Interpretation sasanidischer Monogramme”
Alicia Van Ham-Meert; Bruno Overlaet; Philippe Claeys and Patrick Degryse: “The Use of micro-XRF for the elemental analysis of Sasanian lead coins from the collections of the Royal Museums of Art and History in Brussels”The Tabarestan archive (VIIIth century)
Dieter Weber: “Pahlavi Legal Documents from Tabarestan on Lease, Loan and Compensation: A Philological Study”
Maria Macuch: “Pahlavi Legal Documents from Tabarestan on Lease, Loan and Compensation: The Juristic Context”
This article deals with the development of Kushan royal imagery as known from coins in the period between the 1st and the 3rd centuries AD, i.e. from the so-called Heraios series to the coins of Vasudeva. The aim is to challenge the traditional interpretative models which ascribed a crucial role to a Roman contribution, and to highlight instead first the role of the local numismatic tradition, which stretched back to the Graeco-Bactrians, and then the influx of patterns of royal imagery of western Iranian—namely Arsacid Parthian—origin, around the time when Vima Kadphises inaugurated a new imperial coinage.
Fabrizio Sinisi is a scholar of Iranian and numismatic studies at the Austrian Academy of Sciences (ÖAW), Vienna.
International Conference of the Leibniz-WissenschaftsCampus Mainz: Byzantium between Orient and Occident.
October 18–20, 2017, Mainz/Germany
Organized by Prof. Dr. Falko Daim (General Director, RGZM) and Prof. Dr. Neslihan Asutay-Effenberger (Johannes Gutenberg- Universität, Mainz)
Cultural exchanges between Christianity and Islam, especially between Byzantium and its Islamic Neighbours, but also in the Caucasian region, have been an attractive topic for historians, art historians and archaeologists in recent years. Scholarly interest focuses on diplomatic gift exchange, trade, the mobility of artists and the common motifs in both Christian and Islamic objects. The stage extends from Spain to Afghanistan and justifies the necessity of this debate. Yet, unfortunately, the role of one of the important protagonists of this exchange, namely the Persian Sasanians, is less well researched, although many important artistic and cultural phenomena in Byzantium, Armenia, and Georgia as well as in the Islamic countries can only be understood when this culture is included.
The Sasanian Empire (224-651 A.D.) extended over a large territory. In Late Antiquity and the early Medieval Era, it ruled the whole area of modern Iran, Iraq, Azerbaijan, Pakistan and Afghanistan. The Caucasian region was exposed to its political influence. Until the middle of the 7th century, Sasanians were the major rival of the Late Roman and Eastern Roman (Byzantine) Empire and exported art and culture into these civilizations through various means and on different levels. The cultural connections ended after the fall of the Sasanian Empire, which was replaced mainly by Arab Muslims, and a new era began: the new owners of the territory then adapted Sasanian elements into their own culture.
From the10th century onwards, the Turkish dynasties such as the Ghaznawids (963-1186) or the Great Seljuks (1019-1157 / de facto until the 13th century) settled in Persia and styled themselves as the successors of the Sasanians as well as as Turks; hence, they were called “Persians” in Byzantine sources. The Sasanian artistic and architectural tradition continued to exist in these cultures. The same phenomenon also applies to the Turkish Rum-Seljuks, who founded their empire in Anatolia: Persian was the court language, the sultans were named after Sassanian heroes from the Shahname (Keykubad, Keyhusrev, Keykavus), and despite the religious prohibition, drinking scenes were depicted in the artworks and wine played an important role at the ceremonies and celebrations according to the Sasanian model.
As can be clearly seen, the Sasanian Empire had not only ‘transfused’ its art and culture to its neighbourhood during its prime time, but also influenced the successor states after its decline. Just as Ancient Greek and Roman culture played an important role in the formation of Western Europe, the Sasanian Empire bequeathed, a remarkably rich cultural heritage to the Christian and Islamic East.
The conference “Sasanian Elements in Byzantine, Caucasian and Islamic Art and Culture” succeeds “Der Doppeladler. Byzanz und die Seldschuken in Anatolien vom späten 11. bis zum 13. Jahrhundert”, which was held at the Römisch-Germanisches Zentralmuseum, Mainz in October 2010. The first event dealt with the cultural relations between Islam, particularly Turkish Islam, Byzantium and the Caucasus. At the forthcoming conference, we aim to discuss the role of the Sasanian Empire in the process of cultural exchange before and after its decline.