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    Wyświetlanie 1-14 z 14
    Tytuł:
    Notes on the Combat Scene on Tang-e Sarvak III rock relief
    Uwagi o scenie bitewnej na reliefie Tang-e Sarvak III
    Autorzy:
    Skupniewicz, Patryk N.
    Powiązania:
    https://bibliotekanauki.pl/articles/2033827.pdf
    Data publikacji:
    2021-12-28
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    Parthian rock reliefs
    Elymaean rock reliefs
    Sasanian rock reliefs
    Iranian rock reliefs
    Parthian arms and armour
    Sasanian arms and armour
    Composition formulae
    Partyjskie reliefy skalne
    Reliefy skalne Elymaidy
    Sasanidzkie reliefy skalne
    Irańskie reliefy skalne
    Uzbrojenie partyjskie
    Uzbrojenie sasanidzkie
    Formuły kompozycyjne
    Opis:
    The article examines the Parthian rock relief Tang-e Sarvak III from two perspectives: as a source of information on the military equipment, and as representation of the victorious mounted combat genre in ancient Iranian art. As a result of this analysis of the military equipment a picture emerges of a the warrior dressed in a metallic cuirass with central opening, a scale gorget of the old, Achaemenid style, segmented sleeves and lamellar trousers or leggings. His horse is barded in a lamellar caparison, with a longer apron in front which covers mount’s chest and partially his legs. The warrior has the archery equipment typical for the late Parthian period, which strongly differs from early Parthian and Sasanian archery equipment. In the course of an analysis of the form of the composition, several possibilities of reconstruction of the missing part of the relief have been proposed. At the same time, the possibility of a large battle scene with a multitude of participants has been excluded as not matching the visual language of the era
    Artykuł dokonuje analizy partyjskiego reliefu skalnego Tang-e Sarvak III z dwóch punktów widzenia: jako źródła bronioznawczego, dostarczającego danych o przedstawionym wyposażeniu bojowym, oraz z perspektywy historyczno-artystycznej, mającej na celu badanie rozwoju motywu zwycięskiego jeźdźca w sztuce starożytnego Iranu. W wyniku dokonanej analizy wyposażenia bojowego tworzy się obraz wojownika odziane go w metalowy kirys otwierany pośrodku tułowia, łuskowy kołnierz starego, jeszcze achemenidzkiego typu oraz folgowe rękawy i lamelkowe spodnie lub nogawice. Jego wierzchowiec oladrowany jest lamelkowym kropierzem z rodzajem lamelkowego fartucha chroniącego pierś konia i jego nogi. Wojownik ma ze sobą późnopartyjski sprzęt łuczniczy który różni się zarówno od wczesno-partyjskiego, ajk i wczesno-sasanidzkiego. W wyniku analizy kompozycyjnej zaproponowano kilka propozycji rekonstrukcji brakującej części reliefu. Jednocześnie wykluczono możliwość wielo-postaciowego, dużego założenia bitewnego, jako nie znajdującego analogii w języku wizualnym epok
    Źródło:
    Acta Archaeologica Lodziensia; 2021, 67; 117-145
    0065-0986
    2451-0300
    Pojawia się w:
    Acta Archaeologica Lodziensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    ‘Sasanian’ silver plate from al-Ṣabāḥ Collection in light of aesthetic features of Sasanian toreutics
    Autorzy:
    SKUPNIEWICZ, Patryk
    Powiązania:
    https://bibliotekanauki.pl/articles/517756.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    Sasanian silver
    al-Sabah Collection
    toreutics
    Iran
    Art
    Opis:
    Recently published silver plate from al-Sabah Collection, of unknown provenance, has been firmly attributed as Sasanian. In fact, technically, it is related to the Sasanian silverwork however aesthetic examination allows to raise the doubts whether it is genuine. The plate must be compared not only with central-Sasanian artworks but all ancient ‘Oriental silver’, including pieces attributed as Hephtalite or Sogdian. The design of the plate does not have any relation with any of the known examples of late antique oriental toreutics. Central scene of heroic combat with powerful beast or beasts has never been surrounded with the ring containing other hunting scenes is unknown as well. The disbalanced decorum is even more clear when we remind that the central scene shows hunting on foot and the marginal ones – mounted. The details of fixed aesthetic elements – position of personages, beasts, weapons do not belong to Sasanian canon. The unique nature of the plate might result from many factors but the combination of unknown provenance and lack of relation to legitimate Sasanian canon require utmost cautiousness towards the object.
    Źródło:
    Historia i Świat; 2019, 8; 59-78
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Archers from Rag-i Bibi. Notes on the equipment depicted on Rag-i Bibi relief (Northern Afghanistan)
    Autorzy:
    SKUPNIEWICZ, Patryk
    Powiązania:
    https://bibliotekanauki.pl/articles/2142379.pdf
    Data publikacji:
    2022-08-28
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    Sasanian
    Kushan
    the rock relief
    Iran
    Rag-i Bibi
    Afghanistan
    archers
    Opis:
    The rock relief discovered in Rag-e Bibi in Northern Afghanistan in 2002 remains an archaeological sensation. The archery equipment depicted there has not yet been studied. The article describes the bow cases combined with quivers and associates them with the same type of kit popular in Eurasia related with spread of the recurved bows with stiff bone or horn extensions of Xiong Nu/Hunnictype. This type of bows replaced shorter 'Scythian' type of bows in 1st-2nd century CE. The integrated bow case and quiver went out of use soon before the rise of the Sasanians therefore Rag-e Bibi cannot be linked with this dynastic art, based also on the depicted elements of material culture, as well as on stylistic grounds.
    Źródło:
    Historia i Świat; 2022, 11; 115-124
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Manya Saadi-nejad, Anāhitā. A History and Reception of the Iranian Water Goddess, London: Bloomsbury Publishing Plc I.B. Tauris, 2021, ISBN: 978-1-8386-0111-9
    Autorzy:
    Skupniewicz, Patryk
    Powiązania:
    https://bibliotekanauki.pl/articles/2074659.pdf
    Data publikacji:
    2021-10-22
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    Iran
    Źródło:
    Historia i Świat; 2021, 10; 389-394
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Mirosław Michalak, Konteksty kulturowe średniowiecznego eposu irańskiego Garšāspnāme i ich źródła. Warszawa: Wydawnictwa UW, 2020, ISBN: 978-83-235-4271-1
    Autorzy:
    Skupniewicz, Patryk
    Powiązania:
    https://bibliotekanauki.pl/articles/36159532.pdf
    Data publikacji:
    2023
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Źródło:
    Historia i Świat; 2023, 12; 423-426
    2299-2464
    2956-6436
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Persian Riders in the Aethiopica of Heliodorus. A reliable source?
    Autorzy:
    SKUPNIEWICZ, Patryk
    MAKSYMIUK, Katarzyma
    Powiązania:
    https://bibliotekanauki.pl/articles/517558.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    The Aethiopika
    Heliodorus
    Iran
    heavy cavalry
    cataphracti
    Opis:
    The description of the Persian Riders in Aethiopica of Heliodorus is often regarded a reliable source to reconstruct the tactics and armament of Iranian heavy cavalry of the Sasanian period, sometimes even spread to its Roman equivalents. The conventional nature of entire text is somehow disregarded in this particular point which is not less conventional than all other depictions of the novel. The description uses fixed phrases designed to flatter the erudite reader, not to describe actual combat troops of Achaemenid era disguised in fourth century attire. The Heliodorus’ description must be treated with utmost carefulness and can be a tertiary source for reconstruction of the Sasanian heavy horse, at best.
    Źródło:
    Historia i Świat; 2018, 7; 99-110
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sasanian horse armor
    Autorzy:
    Skupniewicz, Patryk
    Powiązania:
    https://bibliotekanauki.pl/articles/517641.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    Archaeology
    History
    Iran
    Late Antiquity
    Relief army
    Sassanian Persia
    Opis:
    The goal of the paper is to define general types and the evolution of horse armor employed by elite warriors of Sasanian Iran, basing on literary sources and iconographical evidence with minor reference to archaeological finds in wider Eurasian perspective. The horse armor was an important part of cavalry equipment already in the chariot warfare however its re-emergence in mounted combat occurred when heavy cavalry was developed. The article divides Sasanian horse armor into several groups: 1. One-piece body protection, which overall cover mounts body the way modern horse blankets do. Within the group one may find following subgroups: 1.a Caparisons – known from numerous works of art (rock reliefs illustrating scenes of mounted combat at Firusbad and Nakš e Rostam as well as the on so-called Shapur cameo currently held in Louvre) having long Near Eastern and Eurasian tradition. 1.b Scale barding – which in fact is a sort of caparison covered with metallic scales sewn onto textile horse blanket, testified by literary sources, known from archaeological evidence from Dura Europos (despite the fact that these examples belonged to Roman cavalry, it is clear that they were fashioned in Iranian manner). Scale bardings of the type are known also from the works of art like graffito from Dura Europos, Trajan’s column, sculpture of Khalchayan and late Parthian Tang e Sarvak frieze. 1.c Chain mail horse armor – lacking strong and direct evidence from Sasanian period, iconography which may depict horses protected with chain-mail is rather crude however despite hypothetical nature, this sort of horse armor is very likely employed in Sasanian warfare. 2. Bardings composed of multiple elements and fragmentary bardings covering a part of the mount. Again these this group can be divided into two sub-groups: 2.a Full lamellar/laminar barding – can be identified on the sculpture of Khalchayan and late Parthian frieze Tang e Sarvak as well as on the seals of Late Sasanian spahbedan. They find numerous Central Asian (Old Turkic) and Far Eastern refernces. 2.b Fragmentary barding, best known from Taq e Bostan sculpture of an equestrian figure but with Central Asian, Chinese and Byzantine references. Following phases of barding development in ancient and early mediaeval Iran can be determined: 1. Late Achaemenid when armored cavalry required some protection for horses after employing shock tactics and subsequent close combat. 2. Mid Parthian, influenced by invasions of the steppe dwellers initiated by Xiong Nu expansion. Developed locally later. 3. Late Sasanian – resulting from contacts with Turkic warriors who transmitted some Eastern military technologies to Iran and through Avar influence to Europe.
    Źródło:
    Historia i Świat; 2014, 3; 35-59
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Scene of Fighting Tigers on a Sasanian Plate from Mes ‘Aynak. Notes on the Composition
    Scena walki z tygrysami na sasanidzkiej paterze z Mes ‘Aynak. Uwagi na temat kompozycji
    Autorzy:
    Skupniewicz, Patryk
    Powiązania:
    https://bibliotekanauki.pl/articles/1036059.pdf
    Data publikacji:
    2020-11-26
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    Kushano-Sasanian art., silver plates, iconography
    sztuka kuszano-sasanidzka, srebrne patery, ikonografia
    Opis:
    The article discusses, from formal perspective, the mounted hunting scene on the Kushano-Sasanian silver plate found in Mes Aynak in Afghanistan. The scene represents the model related to other Sasanian silverware, however with significant variances. When compared the scene to other models defined by Author, conclusion is made that except for several “canonical” layouts, Sasanian toreuts, allowed themselves a dose of freedom in combining them. This phenomenon seems to be related to peripheries of the Sasanian Empire and model of a sword-wielding rider in combat with large felines while holding an object in outstretched left hand was defined as originating from Kushanshahr and combining Assyrian and Achaemenid formulae of men killing beasts with mounted archer/lancer layouts popular in Sasanian silver.
    W prezentowanym studium poddano ocenie, z formalnego punktu widzenia, scenę konnego polowania z kuszano-sasanidzkiej partery znalezionej w Mes Aynak, w Afganistanie. Scena reprezentuje model pokrewny dziełom znanym z toreutyki sasanidzkiej, jednakże z wyraźnymi różnicami. Porównując scenę z modelami wyróżnionymi przez Autora, pojawił się wniosek, że sasanidzcy mistrzowie obróbki srebra, poza „kanonicznymi” figurami, pozwalali sobie na formalne eksperymenty. Jest to zjawisko znane z peryferii imperium Sasanidów, a model obejmujący jeźdźca uderzającego mieczem „kotowatego drapieżnika” a w wolnej, wyciągniętej ręce trzymającego inny obiekt, wykształcił się w Kuszanszahr i łączy w sobie asyryjskie i achemenidzkie formuły ludzi zabijających dzikie bestie z układami ukazującymi konnego łucznika czy jeźdźca operującego włócznią, znane z sasanidzkigo srebra.
    Źródło:
    Acta Archaeologica Lodziensia; 2020, 66; 65-84
    0065-0986
    2451-0300
    Pojawia się w:
    Acta Archaeologica Lodziensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The bow as an insignia of power in the art of ancient Iran
    Autorzy:
    Skupniewicz, Patryk
    Powiązania:
    https://bibliotekanauki.pl/articles/2073412.pdf
    Data publikacji:
    2021-10-22
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    Ancient Iranian art
    Iranian royal insignia
    Bows
    Mesopotamian iconography
    Iranian kingship
    Opis:
    This article presents the iconographic concept of the bow as an insignia in ancient Iran of the imperial era. The primary source of the bow’s association with the depiction of royal power is Mesopotamian iconography, where the bow is shown in the hands of kings without any connection to the act of shooting itself. The model of depicting a ruler with a bow resting on his foot, developed in the Neo-Assyrian period, was entirely adopted by imperial Achaemenid iconography. Another aspect expressing the association of the bow with royal power is the habit of depicting, in the Mesopotamian tradition, shooting kings without quivers. Iranian art of the Parthian and Sasanid periods, on the other hand, adopted the quiver as a sign of status from the nomadic steppe tradition, but one can nevertheless see in Sasanid iconography relics of the functioning of the bow as an insignia in the Mesopotamian sense.
    Źródło:
    Historia i Świat; 2021, 10; 153-170
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The bullae of the spahbedan. Some iconographic remarks
    Autorzy:
    SKUPNIEWICZ, Patryk
    Powiązania:
    https://bibliotekanauki.pl/articles/517462.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    bullae
    Sasanian art
    spahbed
    sigillography
    Opis:
    The seals of Sasanian highest military officials, the spahbedan which contain depiction of armoured rider create consistent iconographic group. It is possible however to distinguish five sub-groups within it, which in turn might serve as supplementary argument for their chronology or might suggest differentiation of the role of the office in time. The iconography of the spahbedan is related to 3-5th century, Roman models of imperial adventus which seems adequate for high ranking officers who needed iconographic layout emphasizing power however not entering royal prerogative. Iconography of the sovereigns of the neighboring power suited that goal well. Stylization of the arms and armour depicted on the spahbedan seals and small size of the objects do not allow firm identification of the types however it is clear that the more realistic tendency in depicting armament, typical for Late Sasanian period and contrasting with stylized and symbolic functions of earlier official art, prevailed.
    Źródło:
    Historia i Świat; 2017, 6; 107-120
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Himyarite “knight” and Partho-Sasanian art
    Autorzy:
    SKUPNIEWICZ, Patryk
    Powiązania:
    https://bibliotekanauki.pl/articles/517560.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    Parthian
    Sasanian
    Yemen
    Arabia
    weaponry
    arms
    armor
    stone slab
    rock reliefs
    Opis:
    The Himyarite slab from Zafar contains several distinctive features shared with some Parthian and Sasanian art pieces, but its relation with Naqš-e Rostam friezes proposed by Yule and Robin does not seem convincing. 1. It shows a rider clad in long scale armor analogically to a terracotta tile from the British Museum (fig. 9); 2. There is an infantry attendant with an axe depicted over the mount’s rump similarly to the Tang-e Sarvak frieze, where there are two foot warriors and a battle axe too (fig. 7); The horse position on Tang-e Sarvak is either standing or rearing as on discussed relief. 3. Round shield and raised right hand with a lance as on Ṭāq-e Bostān relief (fig. 12). 4. The layout of the original piece must have therefore been squarish rather than horizontally extended, with the opponent of the main figure marginalized. Therefore Himyarite artisans either followed unknown or not preserved Iranian iconographic pattern or combined the features of different canons. Yule and Robin have pointed out that simple snaffle was depicted in place of elaborate and decorative Sasanian bridle, an element usually pronounced in Sasanian art but not always clearly marked in Parthian iconography, especially in smaller objects. It cannot be however excluded that the slab rather follows a Roman tradition captured in local taste.
    Źródło:
    Historia i Świat; 2016, 5; 57-75
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Preliminary report of Māhūr tomb, a Mithraism relic at Dezfūl, Southern Iran
    Autorzy:
    KARAMIAN, Gholamreza
    MAKSYMIUK, Katarzyna
    SKUPNIEWICZ, Patryk
    ASTARAKI, Farzad
    FARROKH, Kaveh
    Powiązania:
    https://bibliotekanauki.pl/articles/1016282.pdf
    Data publikacji:
    2020-10-29
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    Iran
    Khuzestan
    Parthian period
    Sasanian period
    Mithra
    Māhūr Tomb
    Opis:
    Tomb of Māhūr is located at a village called Mahur Berenji, district of Sardasht a part of Dezfūl, Khuzestan province, Southern Iran. This tomb has been discovered by Karamian and Astraki in 2018. There is a four-legged cross symbol in the above part of the tomb entrance.
    Źródło:
    Historia i Świat; 2020, 9; 23-36
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    An Overview of Military Confrontations between of the Assyrian Army against the Medes in the 7th centuries BCE
    Autorzy:
    FARROKH, Kaveh
    MAKSYMIUK, Katarzyna
    SKUPNIEWICZ, Patryk
    FATHI, Salam
    Powiązania:
    https://bibliotekanauki.pl/articles/2142380.pdf
    Data publikacji:
    2022-08-28
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    the Assyrian Empire
    the Medes
    Iran
    cavalry
    chariot
    military system
    Opis:
    The article discusses the military confrontation between Neo-Assyrian kingdom and the Median polities in the 7th century BCE. At the beginning the outline of the history of wars between the Medes and Assyria from the 9th century onwards is presented which is followed by the brief description of the Assyrian forces of the era and detailed examination of the events until the fall of the Neo-Assyrian empire. In conclusions an attempt to reconstruct possible principles of the Median warfare was made.
    Źródło:
    Historia i Świat; 2022, 11; 125-144
    2299-2464
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Early Iranian Riders and Cavarly
    Autorzy:
    Farrokh, Kaveh
    Maksymiuk, Katarzyna
    Skupniewicz, Patryk
    Powiązania:
    https://bibliotekanauki.pl/articles/36163637.pdf
    Data publikacji:
    2023
    Wydawca:
    Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach
    Tematy:
    History
    Iran
    Military History
    Scythians
    Achaemenid Empire
    Iranian Riders
    Cavarly
    Opis:
    The expansion of the Iranian peoples in first centuries of the 1st millennium BCE coincides with the creation and further development of the cavalry warfare in western Eurasia, as well as with the creation of the pastoral nomadic life-style which dominated the Great Steppe for millennia to come. The mounted warriors replaced the light chariots which dominated the Bronze Age battlefields which required perfect horsemanship however application of the recurved, double reflex. composite bow for mounted combat seemed another important factor in development of the cavalry force. Mounted archery which doubled the fire power of the mobile troops, earlier dominated by the chariots triggered the evolution of the various forms of cavalry, both as a response to a threat of the horse archers and independent forces used by the sedentary societies. Iranian contribution in spreading (and most likely invention) of the new technology is undeniable. Although horse riding and recurved composite bows were known earlier they could not overcome the power of the chariot force separately. Only the combination of the factors allowed fielding large and efficient cavalry troops as was practiced by the Scythians and became the success factor for the Achaemenid Empire. Survival of the chariots as late as the Seleucid times was possible because of changing their tactical function from the highly mobile shooting platform to heavy, at least partially, armored terror and shock weapon.
    Źródło:
    Historia i Świat; 2023, 12; 153-166
    2299-2464
    2956-6436
    Pojawia się w:
    Historia i Świat
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-14 z 14

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