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Parthian Art and Jewelry
Taken from www.artarena.force9.co.uk
"In 250 BC a new Iranian people, the Parthians, proclaimed their independence from the Seleucids, and went on to re-establish an Oriental Empire which extended to the Euphrates.
The re-conquest of the country by the Parthians brought a slow return to Iranian traditionalism. Its technique marked the disappearance of the plastic form. Stiff figures, often heavily bejeweled, wearing Iranian dress with its drapery emphasized mechanically and monotonously, were now shown systematically facing to the front, staring straight at the spectator. This was a device used in ancient Mesopotamian art only for figures of exceptional importance. The Parthians however, made it the rule for most figures, and from them it passed into Byzantine art. A fine bronze portrait statue (from Shami) and some reliefs (at Tang-i-Sarwak and Bisutun) highlight these features.
During the Parthian period the iwan became a widespread architectural form. This was a great hall, open on one side with a high barrel-vaulted roof. Particularly fine examples have been found at Ashur and Hatra. In the construction of these grandiose halls, fast setting gypsum mortar was used.
Perhaps allied to the increasing use of gypsum mortar was the development of gypsum stucco decoration. Iran was unfamiliar with stucco decoration before the Parthians, among whom it was in vogue for interior decoration together with mural painting. The mural at Dura-Europos, on the Euphrates, represents Mithras hunting a variety of animals.
In the Zagros area of western Iran many examples of Parthian 'clinky' ware, a hard red pottery which makes a clinky noise when tapped, can be found. Glazed pottery with a pleasing bluish or greenish lead glaze, painted on shapes of Hellenistic inspiration, are also frequently found.
Ornate jewelry with large inlaid stones or glass gems made its appearance during this period.
Necklace consisting of three oval plaques, fixed to a chain. Two plaques show eagles with turquoise and garnet inserts.
Eagles holding rings in their beaks as symbols of kingship are common features on both Parthian coins and rock reliefs.
Unfortunately, practically nothing that the Parthians may have written has survived, apart from some inscriptions on coins and accounts from Greek and Latin authors; however these accounts were far from objective.
Parthian coins are helpful in establishing the succession of kings, they referred to themselves on these coins as "Hellenophiles", but this was only true in that they were anti Roman.
"In 250 BC a new Iranian people, the Parthians, proclaimed their independence from the Seleucids, and went on to re-establish an Oriental Empire which extended to the Euphrates.
The re-conquest of the country by the Parthians brought a slow return to Iranian traditionalism. Its technique marked the disappearance of the plastic form. Stiff figures, often heavily bejeweled, wearing Iranian dress with its drapery emphasized mechanically and monotonously, were now shown systematically facing to the front, staring straight at the spectator. This was a device used in ancient Mesopotamian art only for figures of exceptional importance. The Parthians however, made it the rule for most figures, and from them it passed into Byzantine art. A fine bronze portrait statue (from Shami) and some reliefs (at Tang-i-Sarwak and Bisutun) highlight these features.
During the Parthian period the iwan became a widespread architectural form. This was a great hall, open on one side with a high barrel-vaulted roof. Particularly fine examples have been found at Ashur and Hatra. In the construction of these grandiose halls, fast setting gypsum mortar was used.
Perhaps allied to the increasing use of gypsum mortar was the development of gypsum stucco decoration. Iran was unfamiliar with stucco decoration before the Parthians, among whom it was in vogue for interior decoration together with mural painting. The mural at Dura-Europos, on the Euphrates, represents Mithras hunting a variety of animals.
In the Zagros area of western Iran many examples of Parthian 'clinky' ware, a hard red pottery which makes a clinky noise when tapped, can be found. Glazed pottery with a pleasing bluish or greenish lead glaze, painted on shapes of Hellenistic inspiration, are also frequently found.
Ornate jewelry with large inlaid stones or glass gems made its appearance during this period.
Necklace consisting of three oval plaques, fixed to a chain. Two plaques show eagles with turquoise and garnet inserts.
Eagles holding rings in their beaks as symbols of kingship are common features on both Parthian coins and rock reliefs.
Unfortunately, practically nothing that the Parthians may have written has survived, apart from some inscriptions on coins and accounts from Greek and Latin authors; however these accounts were far from objective.
Parthian coins are helpful in establishing the succession of kings, they referred to themselves on these coins as "Hellenophiles", but this was only true in that they were anti Roman.
Comments on this journal
Ask your mom to pull our her jewelry sets when she got married or your grandmother or go to Pakistan and see for yourself the kind of designs that are prominent these days. If you took a contemporary jewelry design and put it against one that was ancient from these geographic parts, I doubt you'd be able to tell much of a difference. Two centuries don't seem to have made even a dent of a difference in some respects in parts of Asia (that include Pakistan and west of it).