The Golden Deer Of Eurasia

"On the occasion of the Golden Deer exhibition, a number of scholars gathered at a symposium held at the Metropolitan Museum in October 2000, followed in the next few months by a series of invited lectures. The speakers offered regional perspectives covering the broad expanse of the steppe corridor. They presented exciting discoveries from recent archaeological excavations not only at Filippovka but also at Pokrovka in the Urals, Bel'sk in the Pontic steppes, Berel in the Altai region of Kazakhstan, Arzhan near Tuva in southern Siberia, and Xinjiang in western China. The contributors of the twenty essays in this collection have added significantly to our view of the steppe world. They have presented us not only with new data from archaeological excavations extending from the Caucasus to China but also with new avenues of interpretation, enriching our understanding of the spectacular golden deer of Eurasia"--From publisher's description.

Theodore Levin takes readers on a journey through the rich sonic world of inner Asia, where the elemental energies of wind, water, and echo; the ubiquitous presence of birds and animals; and the legendary feats of heroes have inspired a remarkable art and technology of sound-making among nomadic pastoralists. As performers from Tuva and other parts of inner Asia have responded to the growing worldwide popularity of their music, Levin follows them to the West, detailing their efforts to nourish global connections while preserving the power and poignancy of their music traditions.

Brilliant horsemen and great fighters, the Scythians were nomadic horsemen who ranged wide across the grasslands of the Asian steppe from the Altai mountains in the east to the Great Hungarian Plain in the first millennium BC. Their steppe homeland bordered on a number of sedentary states to the south - the Chinese, the Persians and the Greeks - and there were, inevitably, numerous interactions between the nomads and their neighbours. The Scythians fought the Persians on a number of occasions, in one battle killing their king and on another occasion driving the invading army of Darius the Great from the steppe. Relations with the Greeks around the shores of the Black Sea were rather different - both communities benefiting from trading with each other. This led to the development of a brilliant art style, often depicting scenes from Scythian mythology and everyday life. It is from the writings of Greeks like the historian Herodotus that we learn of Scythian life: their beliefs, their burial practices, their love of fighting, and their ambivalent attitudes to gender. It is a world that is also brilliantly illuminated by the rich material culture recovered from Scythian burials, from the graves of kings on the Pontic steppe, with their elaborate gold work and vividly coloured fabrics, to the frozen tombs of the Altai mountains, where all the organic material - wooden carvings, carpets, saddles and even tattooed human bodies - is amazingly well preserved. Barry Cunliffe here marshals this vast array of evidence - both archaeological and textual - in a masterful reconstruction of the lost world of the Scythians, allowing them to emerge in all their considerable vigour and splendour for the first time in over two millennia.

Since early discoveries of so-called Celtic Art during the 19th century, archaeologists have mused on the origins of this major art tradition, which emerged in Europe around 500 BC. Classical influence has often been cited as the main impetus for this new and distinctive way of decorating, but although Classical and Celtic Art share certain motifs, many of the design principles behind the two styles differ fundamentally. Instead, the idea that Celtic Art shares its essential forms and themes of transformation and animism with Iron Age art from across northern Eurasia has recently gained currency, partly thanks to a move away from the study of motifs in prehistoric art and towards considerations of the contexts in which they appear. This volume explores Iron Age art at different scales and specifically considers the long-distance connections, mutual influences and shared ‘ways of seeing’ that link Celtic Art to other art traditions across northern Eurasia. It brings together 13 papers on varied subjects such as animal and human imagery, technologies of production and the design theory behind Iron Age art, balancing pan-Eurasian scale commentary with regional and site scale studies and detailed analyses of individual objects, as well as introductory and summary papers. This multi-scalar approach allows connections to be made across wide geographical areas, whilst maintaining the detail required to carry out sensitive studies of objects.

Drawing on evidence from archaeology, art history, and textual sources to contextualize Greco-Scythian metalwork in ancient society, Meyer offers unique introductions to the archaeology of Scythia and its ties to Asia and classical Greece, modern museum and visual culture studies, and the intellectual history of classics in Russia and the West.