Temat: Sasanian art - Katalog OPAC zbiorów

Skocz do pozycji: 1.

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

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Skocz do pozycji: 2.

Tytuł:: Analiza powstawania synkretycznych stylów zdobniczych w Azji Środkowej w VI-VIII w. n.e. na podstawie tkanin z Kotliny Turfańskiej
Autorzy:: Kossowska, Dominika
Powiązania:: https://bibliotekanauki.pl/articles/915191.pdf
Data publikacji:: 2015-12-01
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: samit
textiles
Sasanian art
Central Asia
Turfan Oasis
Opis:: In the 8th century in Byzantine, Arabic and Chinese workshops weavers produced weft-faced compound twill silks (samits). These textiles were ornamented by confronted animals surrounded by pearls roundels. Usually, a rosette motive was placed between medallions. This design is a compilation of Sasanian (animals decorated with floating ribbons, pearl roundels) and Chinese patterns (symmetricalness, rosettes, ‘scrolled leaves’ motive). Its emergence took place in Central Asia. Some scholars think that it happened in Sogdiana, but the oldest samples of textiles made in the new tradition were found in Astana cemetery in Turfan Oasis (East Turkestan). Moreover, these textiles were warp-faced compound tabby – a weave technique characteristic of Chinese workshops. At first their composition was more Chinese than Sasanian, but successive Persian motives were more common. The most popular design was pearl roundels containing a confronted Pegasus standing on “a scrolled, pointed leaves in profile”. There is a large possibility that textiles found in Astana were produced locally in East Turkestan, probably in Turfan Oasis, which is located on the north branch of Silk Road. It was inhabited by a local community, but also by Sogdian and Chinese merchants. This cooperation could have led to syncretism in art and technical changes.
Źródło:: Studia Azjatystyczne; 2015, 1; 25-49
2449-5433
Pojawia się w:: Studia Azjatystyczne
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

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

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Skocz do pozycji: 4.

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

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