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The Scythians
The
earliest mention of the Scythians is in Assyrian records dating to the reign of
Sargon II (prior to 713 BCE). They were called Ashkuzi by the Assyrians; a
similar name is known from the Hebrew Bible in the pedigree of Noah's decadency
(Gn. 10:1-3): Askeneze was the son of Gomer (i.e., Cimmerians). According
to Herodotus (4.11) the Scythians came from the steppes east of the Araxes River
(modern Syr Darya) and were pushed westward by the drying up of the steppe and
by their wilder eastern neighbors, the Massagetes (cf. also Diodorus
Sicarus 2.4337). The
language of the Scythians belongs to the Iranian group. Herodotus (1.5-10) gives
two legends of their origin. The first describes Skythes as the youngest son of
the first man, Targitaos (son of Zeus and the daughter of the Borystenes River,
now the Don). He had two elder brothers, but only Skythes was able to touch the
four gold objects that had fallen from the sky: plow, yoke, axe, and bowl. In
the second version, the mother of the three sons is a goddess whose upper body
is human and whose lower body is in the shape of a snake; their father is
Herakles. Because Skythes was the only one who could successfully handle their
father's bow, he became the ancestor of the Royal Scythians. A gold vessel from
the Kul'-Oba kurgan displays this myth: two men hurt themselves while trying to
handle the bow, and only the third is successful. Though the first mythological
story speaks in favor of an agricultural ancestry, the Scythians were true
nomads, with mounted archers as their main military force. The
earliest Scythian finds from the Kelermes kurgans (discovered in 1903-1904 and
dated to the mid-seventh century BCE) suggest that their earliest material
culture strongly resembles that of the late Cimmerians (known from the
Novocherkassk hoard), but their own artistic expression initially combined the
traditional Animal Style of northern Eurasia with the arts of Media and
neighboring areas in the Near East, where the Scythians carried out their
military activities. According to Herodotus (4.1) Scythian military supremacy
there lasted twenty-eight years, but their actual presence in the Near East
extended for more than a century. Their center north of the Caucasus Mountains
remained in the Kuban area (there are only a few early rich Scythian tumuli in
the Ukraine); in the Near East, their kingdom had its core in the area of Lake
Urmia in Noerth-West of Iran. In the 670s BCE, the Scythians became dangerous
neighbors for Urartu and also for the Assyrians. In 673 BCE Esarhaddon gave his
daughter in marriage to the Scythian king Parthatua (Protothyes in Greek
sources), apparently seeking an alliance against Urartu and another Iranian of
the region, the Medes. Protothyes' son Madyas later helped the Assyrians when
the Medes attacked Nineveh (Herodotus 1.103).
Scythian
power apparently grew after the middle of the century, but the peak of their
military raids in the Near East falls between 630 and 625 BCE. Using the
opportunity created by the Assyrian loss of power, Scythian cavalry plundered
Syria and Palestine. They were only stopped at the Egyptian frontier by
Psammetichus, who had to pay the Scythians richly to spare his country. The
impact of the military success of the Scythian cavalry and its bravery made a
strong impression: the Hebrew self-declared prophets (Isaiah, Jeremiah) used
these campaigns in their imagery to describe their terrifying visions. At the
end of the seventh century BCE, the time of the final collapse of the Assyrian
Empire (609-605 BCE) and then of Urartu in the sixth century (between 590 and
585 BCE), the Scythians experienced problems with the rising power of the Medes.
Herodotus (1:106) describes the killing of Scythian leaders during a feast given
by the Median king Cyaxares. In the early sixth century BCE, the core of the
Scythian Empire returned, slowly, from the Kuban region to the northern Pontic
steppes of the Greater Iran. Characteristic
Scythian art appeared in the late seventh century BCE, during the period of
their military campaigns. It joined Iranian traditions with the Eurasian Animal
Style to create a new style. The best works of early Scythian art found in Asia
Minor (at Sardis and Ephesus), in the Kuban region, the northern Pontic area,
and in Hungary may well have been executed by Ionian artists, who also served
the Persians (see R. Stucky, "Kleinplastiken, Anatolisches Zaumzeug aus Ost
and West," Archdologie Mittelungen aus Iran 18 [1985]: 119-124; 20 [1987]:
161-165).) One of the earliest complexes of Scythian art is found in the
treasure associated with the site of Ziweye, in North-West of Iran, and in
several of the Kelermes kurgans (see Schiltz, 1994) . The
Royal Scythians inhabited the Pontic steppes. They were nomads in the full sense
of the word, moving with their herds across that vast pastureland. Their
families lived in wagons, and horses served not only for riding and transport
but as a food source. Herodotus (4.110-117) reports Scythian farmers, plowmen
and other inhabitants of the Pontic area between the Danube and Don Rivers (east
of the latter was the territory of the Sauromatae). Archaeological
investigations have uncovered cultures with settled population and forts in the
forest-steppe zone north of the Royal Scythians, to whom their neighbors paid
some kind of tribute. The Scythians, also in the sixth century BCE, attacked
their western neighbors, and their military raids reached as far west as
present-day Austria and the Polish western frontier. In the latter area, a hoard
was found at Witaszkowo (Vettersfelde) with Scythian parade armor. Scythian
military supremacy reached its peak there, and the peoples affected by their
raids learned their technique of horsemanship. Herodotus (4.118-143) describes
the Scythian campaign of Darius the Great in 512 BCE, from which the great king
of Achaemenid dynasty had to retreat, when his army became exhausted from
chasing the Scythians across the steppe. As
with other nomadic cultures without characteristic traces of dwellings, the main
archaeological source for Scythian culture is their monumental tombs under
barrows of extraordinary dimensions. The one at Tolstaja mogila (see
Mozolevs'kij, 1979) was 8.5 m high and consisted of 1,500 cu m of earth: the
preserved lateral chamber (the central burial was partially destroyed by tomb
robbers) was 7 m under the present ground level-more than 15 m under the top of
the tumulus. Horses and even servants were sacrificed to the noble dead, and the
body of a woman, deposited later in the undisturbed chamber, was buried with a
small boy and several servants. Her body and funeral bed were lavishly equipped
with precious objects: gold jewelry, toilet equipment, glass vessels, and fine
Greek pottery. Hidden in a special pit, near the main chamber, was a sword in a
gold sheath and a gold pectoral weighing 1,150 gr. There are more than twenty
truly royal barrows; the more numerous graves of middle-class Scythians are less
well equipped and lack gold objects.
The
bow and arrow were the main weapons used by the Scythians. The gorytus
was a sheath protecting them, while a short sword called an akinakes was
protected by a sheath. In the burials of the wealthy, both were covered by sheet
gold decorated in relief. Most of the known examples depicting animal fights or
scenes. Horse harnesses included many decorated ornamental parts for covering
the animal's forehead, nose, and chest. Scythian noblewomen wore a high tiara;
the dress in which they were buried was covered with sheet gold ornaments
decorated in relief. Poles topped with bells and other objects were
paraphernalia used in shamanistic rituals; the Animal Style was the art of
shamanistic religion. The
Scythians rejected the Greek way of life, but their aristocracy frequently used
jewelry and toreutics made by the Greeks especially for them and adapted to
their taste. The best works of Scythian art were made in the late fifth century
BCE. Representations of Scythians beginning in the latter part of the fifth century BCE show them in distinctive Iranian clothing, including trousers; fourth-century iconography shows a turn from warlike scenes to amicable negotiations and myths propagating the legitimacy of the dynastic rule. The simpler objects in the Animal Style, mainly showing predators attacking herbivores, were made by local craftsmen in a style reminiscent of woodcarvings. Early Animal Style Scythian art in the represents organic forms, while the later works dissolve the bodies into individual parts. In
the fifth century BCE, the Scythians were a fairly strong military power
respected by both the Pontic cities (Olbia was a Scythian protectorate) and
their neighbors-the Getae and other Thracians living in the eastern Balkans and
the Sauromatae of Iranian stock (later called Sarmatians) east of Don-though the
last mentioned slowly moved westward. A
second peak of Scythian power and the golden age of their art were reached
toward the middle of the fourth century BCE under King Ateas. Ateas subdued
Dobrodgea (since called Scythia Minor), south of the Danube River, and fought
battles against the Triballoi in the central Balkans and against Philip II of
Macedon. To Ateas's reign date the best-known Scythian tumuli, with royal
jewelry and toreutics (as at Tolstaya mogila, Kuf-Oba, and Great Bliznitsa), and
the introduction of Scythian coinage. In his last battle against Philip, in 339
BCE, Ateas (then ninety years old) was killed and his army defeated. Philip II
took twenty thousand women and children as part of the booty, in addition to an
equal number of horses. In 331 BCE, Olbia, with the help of the Scythians,
resisted an attack of the Macedonian general Zopyrion, sent by Alexander II;
during the third century BCE, however, the Scythians lost most of the Pontic
steppe to the Sarmatians, and their kingdom became confined to the inner Crimea
and to a coastal strip between Crimea and Olbia. The
Scythian kingdom in the Crimea, with its capital at Scythian Neapolis, fought,
with more or less success, its Greek neighbors and the mountainous Taurae in the
southern Crimea. In 110 BCE, the Scythians were severely defeated by Diofantes,
a general of Mithridates VI of Pontus, but they maintained some of their
positions until the third century CE, when they finally disappeared from
history. BIBLIOGRAPHY
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