Essay name: Scythian Elements in early Indian Art
Author:
Swati Ray
Affiliation: University of Calcutta / Department of Ancient Indian History and Culture
This essay studies Scythian Elements in early Indian Art鈥攁 topic that has not garnered extensive scholarly attention. Although much research has focused on various aspects of Saka/Scythian culture, such as politics and numismatics, their contribution to Indian art remains underexplored. This essay delves into archaeological evidence, historical texts, and art forms from Eurasian steppes to decipher the Scythian impact.
Chapter 4 - Scythian / Saka Art
29 (of 115)
External source: Shodhganga (Repository of Indian theses)
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embroidered on the shoulders and chest with fantastic designs. There is
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the typical combination of the Scythian appearance 鈥� men wearing gorytus,
quiver and bow case. All the figures are gilded and only the faces and
hands are silver. Each image is distinct in style. It is worth emphasizing
that this is the first known example of Scythian decorative art depicting
Scythian leaders of the highest rank.
Regarding the three bowls from Kul Oba, Gaymanova and Chastyye
Mogily, all belonging to the Crimean group (early to late fourth century
B.C.), Dniepr group (fourth century B.C.), Voronezh and Don regions
(fourth century B.C.) respectively, their depiction of a seemingly similar tale
shows the widespread diffusion of a common origin. Chastyye Mogily being
far removed to the north-east of the main Hellenistic influence (northern
Black Sea region), reveals less Hellenistic, more Asiatic influence. In order
to explain the representative differences between the Kul Oba and Chastyye
Mogily vessels and between them and the Gaymanova bowl, Rayevskiy
proposes a process by which accommodations were made between the
Scythian version and that of the Greeks, and between a desire to reflect
narrative and the need to reduce distracting detail.1
1 Loc. Cit.
