4.4 Earlier Ivory Carvings from Central Asia and the Near East
4.4.1 Ivory traditions of Central Asia: Takht-i Sangin, Ai Khanum and Nisa
An important component is a discussion about the possibility of a local workshop at Begram, seems to be whether there was an established tradition of ivory and bone carving in the region of Central Asia which would have ultimately created the environment which may have drawn the artisans of the Begram ivory and bone material to settle in the region. The archaeological finds from Ai Khanum, Afghanistan, and Takht-i Sangin and Nisa, Turkmenistan, among others, demonstrate that ivory and bone carvings had been long established in the region before the Kushan period Begram objects had seen the light of day.
Ai Khanum, which like Begram is situated at the confluence of two rivers, the Amu-darya and Koktcha river in Afghanistan, approximately a hundred kilometers north-east of Qunduz, knew an occupation period from the 4th to the turn of the 2nd-1st centuries BCE. It was founded in the Seleucid period and continued to flourish under the Graeco-Bactrians (Ball 1982:30). Since the mid 1960s, excavations at Ai Khanum have been conducted by the French Archaeological Delegation in Afghanistan (DAFA) under the direction, first, of D. Schlumberger, and since 1965 under Paul Bernard[1]. Excavations continued until the late 1970s when the political chaos made archaeological research impossible in Afghanistan.
The large urban town of Ai Khanum revealed not only impressive architecture but also revealed many sculptures, ceramics, jewelry and other smaller finds. Of importance for this work’s discussion is the plethora of ivory finds among which were less spectacular finds of buttons, pin and knives, as well as more elaborate elements of furniture such as a leg of an ivory stool or throne in the shape of a lion’s paw (Rapin 1992:235, Pl.118). Most of the ivory material stylistically point to the presence of local or at least regional ivory workshops. However, the most spectacular ivory find, a large ivory plaque inlaid with precious stones, is not of local origin. (Rapin 1992:185-229) (Fig.). This plaque was discovered in Aï Khanum’s treasury and thought to be part of a booty of, or a tribute to, the rulers of this ancient city (Rapin 1992:185). The ivory plaque has an approximate diameter of 20.5 cm and is made up of several smaller plaques. It is not exactly clear what the function of this plaque was, Rapin suggests perhaps the reverse of a mirror or the lid of a small box.
The iconography of this so-called Indian plaque is very rich and is divided into two zones (Rapin 1992:189-190): a central circular zone measuring 17 cm and an outer band, 1.5 cm broad. The extant fragments of the outer band show the alternating depictions of peacocks, deer and small edifices with humans. The extant fragment of the central part of the plaques shows horse riders carrying shields and lances, peacocks and three figures carrying a parasol. According to Rapin the scenes are part of a royal procession and their artistic quality is very close to the style of Sañci and Bharut.
The presence of an Indian ivory plaque dating to the 2nd century BCE could be non-related to trade as suggested by Rapin and be the result of the carrying of booty from the Indian heartland, however it could also indicate that ivory goods already formed part of long-distance trade from India to Central Asia in the Graeco-Bactrian period.
Another site in Central Asia which revealed several finds of ivory object
is Takht-i Sangin[2] --
the ‘stone throne’ -- situated near the confluence of the Vahs and Amu
Darya rivers in modern Tajikistan. Takht-i Sangin is a large fortified
town which is approximately 1 kilometer long from north to south (Litvinskij
and Pitchikijan 1981: 197). In this site an ivory sheath was discovered
with the depiction of a lion holding a stag (Fig.). It is thought that
this piece dates from the Achaemenid period with the lion symbolising
the Achemenid king’s triumph over the Sakas (Litvinskij and Pitchikijan
1982:202). The lion is depicted erect along the vertical axis of the sheath
standing on its hind. His fore paws are stretched outward and he holds
the stag which is depicted in profile. The lion’s head is depicted frontally,
its body in profile. The lion’s musculature is stylized indicated by circular
and curved motifs. The main scene is surrounded by a decorative band.
The bottom of the sheath ends in the very stylized curled up body of a
composite creature with the body of a lion and the head of a deer(?).
Although stylistically very unlike the Begram ivory and bone carvings,
it is interesting to note that the some felines on the Begram carvings
have marks on their bodies which may have been derived from the styles
of the Near East and Central Asia such as this ivory piece.
[1] See P. Bernard, Fouilles d’Aï Khanoum I. Campagnes 1965, 1966, 1967, 1968, 2 vols, MDAFA XXI, Paris, 1973; H.-P. Francfort, Fouilles d’Aï Khanoum, MDAFA XXVII, Paris, 1984; C. Rapin, La Trésorie du Palais Hellenistique d’Aï Khanoum, Paris, 1992.
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