The ability to inscribe a predetermined composition into geometric form (in this particular case a circle), the strict balance among its various parts, serve as evidence of artistic maturity and stylistic development. The circular form dominates this ensemble of articles, the form of the necklace is repeated in images; round are sheath of the sword, the falars, etc.58 The figure of a mountain ram (that crowns the head adornment) is also inscribed into round form.59 The intent to match jewelry articles with specific features and compositions of the costume led to the formation of unique forms and types of adornments. The masters beautifully felt the ornamental nature of adornments and their relation to costume, to the person’s body, something that found its reflection in the magnitude and rhythmic order of articles, in domination of vertical symmetry, arising from the structure of the human body. The clarity of sculptured forms, the expressiveness of delicate articles and understanding of decorative elements, all point to the high level of craftsmanship of the ancient jewelers.

The delicate harmony of color, the softness and sensuality of lines, bright polychromes, plasticity, rich sculptured modeling, the gracefulness of forms and technical methods that were sharpened and crystallized, were meant to create aesthetic pleasure and admiration. The complexity of artistic metal processing in the early Kushan period, the secrets of technology, styles, and methods, were transmitted by jewelers from generation to generation, deeply preserving traditions. Analysis of articles from Tillya-tepe showed that jewelry art of the surveyed period is characterized by a rich variety of types and forms, as well as methods and styles of artistic metal processing. The flourishing of monumental painting, sculpture and architecture were also important to that time period. Monumental statues, dedicated to “warriors” and native rulers, were erected.60 Decorative reliefs (see adornments from the Treasure of Oxus and reliefs of that time period) bear strong resemblance, in theme and character, to the images found in jewelry art. It should be noted that sculpture, relief images and painting all contain jewelry. A representative example is the Airtam relief, in which musicians are portrayed wearing distinct (both in type and form) jewelry articles.61 From monumental painting we shall mention the painting of Khalchayan62 and Dilberdjin.63 Preliminary comparisons of these monuments and articles of jewelry art confirm the existence of a unified art school that absorbed into itself a variety of styles.

This phenomenon reflects the general level of art development, but shows that just like other craftsmen, the jewelers drew inspiration from their time, living its interests, being the bearers of social tastes, providing answers to the demands of their time period. The circle of used images grew immensely in themes during that time period. These images include both mythological and apical subjects. Among the images of the divine it is important to note the continuous portrayal of Ares, Hercules and Aphrodite, possibly due to their wide worship during that time. These existed a strong relation between jewelry and other types of art such as poetry, literature, music, that can be traced into the later periods. For example, in lyrics, the description of the image of the beloved is followed either by description of her jewelry or by a comparison of female beauty to a beautiful wok of a jeweler.64 Jewelry art of the early Kushan period differs from adornments made during the period when the empire flourished. As a whole, the art of that time period demonstrates the amalgamation of motives distinct in origin into unique articles, absorbing into themselves the elements of tradition and bringing to life interesting monuments. The absence of a unifying cannon in the region despite the presence of close and various contacts among many schools, is an important feature not only of Central Asian torevtics, as B.I. Marshak writes,65 but is also a unique characteristic of jewelry art. It was possible for masters of various schools to work in one city, and for masters of the same school to work in different centers.66

The sources of gold in Bactria determined the development of gold-making in the area. Bactria introduced nomadic nations to the achievements of high Hellenistic culture. Greek cannons were quickly mastered, and were remade according to native tastes and artistic traditions.67 Hellenism, as V.M. Polevoi notes, in a certain way evened out the artistic cultures of the East and the ancient world.68
Through the analysis of the chosen chronological period it can be noted that by the beginning of the V century AD, an amalgamation of various artistic styles into a unified style occurred in Central Asian jewelry art. This style characterized the region, finding its brightest expression in adornments, for example Tillya-tepe, and confirming the high mastery of the ancients.

1. 1 Ivanov VV. Toward a semiotic theory of the carnival as an inversion of dual opposites. Tartu University Press: Symbolic systems 1977; v. 411 p.103
2. 2 Antonova EV. A cultural survey of ancient Asia Minor and Central Asia. Science, Moscow 1984; p.44
3. 3 Chijova L. Cultural casting of the - elements of an ideological system. Proceedings of the II archaeological conference on the Skifo-siberian world 1984; p.154
4. 4 Schlumberje D. The Hellenistic East. Art, Moscow 1985; p.25
5. 5 Ivanov VV. Toward a semiotic theory of the carnival as an inversion of dual opposites. Tartu University Press: Symbolic systems 1977; v. 411 p.59
6. 6 Votives of D’Ant from the Jerusalem museum
7. 7 Amiet P. Splendeurs de l’or. Paris 1965
8. 8 Zeimal EV….p.36-37
9. 9 L’archeologie, Bruxelles 1980; v.40, p.61
10. 10 Dalton O. The treasure of Oxus. London 1964
11. 11 Ilyinskaya VA. The current state of questions on the “zoomorphic” style of the skiffs. Skifo-siberian style in the art of Eurasian people. Moscow 1976 p.26
12. 12 Ivanov VV. Toward a semiotic theory of the carnival as an inversion of dual opposites. Tartu University Press: Symbolic systems 1977; v. 411 p.49
13. 13 Artamonov MI. Treasures of the saks. Art, Moscow 1973; p.172
14. 14 Zeimal EV….p.44
15. 15 L’archeologie, Bruxelles 1980; v.40, p.56
16. 16 Sidorova VC. The Art of Ancient India. Science, Moscow 1972; p.22
17. 17 Lee SE. L’art Oriental. Bruxelles, 1966
18. 18 Amiet P. Splendeurs de l’or. Paris 1965
19. 19 See “Adornments from Tillya-Tepe”
20. 20 Staviskii BY. Art, ill. 29
21. 21 Zeimal EV…ill.28
22. 22 Schlumberje D. The Hellenistic East. Art, Moscow 1985; p.15
23. 23 Raspopova VI. Metallic…p.113
24. 24 Trever KV. Monuments of Greeko-Bactrian Art. (tables 45-46)
25. 25 Pugachenkova GA. Khalchayan. Fan, Tashkent 1966; p.144-216
26. 26 Sarianidi VI. Bactrian Gold.
27. 27 Pisarchik AK. The national decorative art…p.31
28. 28 Fahretdinova DA. A song in metal. Tashkent 1986; p.206 ill.133
29. 29 Pugachenkova GA. The Art of Turkmenistan. Art, Moscow 1967; p.66
30. 30 Pugachenkova GA, Rempel LI. On the gold of the unknown kings of Tillya-Tepe. From: The history of cultural ties between the nations of Central Asia and India. Tashkent 1988; p.17-24
31. 31 The History of Kirgiziya. Frunze 1984
32. 32 Treasure of the British museum. 1975; p.135
33. 33 Sarianidi VI. Bactrian Gold. p.230-236
34. 34 Tolstov SP. On the ancient deltas of the Oxus and the Yaksart. Science, Moscow 1962; p.168
35. 35 Sarianidi VI. Bactrian Gold. p.236-246
36. 36 Kiev museum of historical antiquities. Kiev 1974; ill.36
37. 37 L’archaeologie…
38. 38 Pugachenkova GA. Hercules in Bactria. VDI 1977; 2:77-93
39. Pugachenkova GA. On the cults of Bactria as reflected in archaeology. VDI 1974; 3:124-135
40. 39 Schlumberje D. Ibid. p.80
41. 40 Ivanov VV. Ibid. p.61
42. 41 Avanesova NA. Unique features of central asian adornments from the bronze era. 1972; 218:97-111
43. 42 Kiev museum of historical antiquities. ill.26,27
44. 43 Sarianidi VI, Koshelenko GA. Coins from the excavations at the necropolis of Tillya-tepe//Ancient India. Science, Moscow 1982; p.307-318
45. 44 Pugachenkova GA. Artistic treasures of Dalversin-tepe. ill.38
46. 45 L’archaeologie…p.77
47. 46 Sarianidi VI. Bactrian Gold…p.254-259
48. 47 L’archaeologie…p.73
49. 48 Kiev museum of historical antiquities. ill.35
50. 49 Schlumberje D. Ibid. p.70
51. 50 Sarianidi VI. Ibid. p.236-246
52. 51 Dalton O. Ibid.
53. 52 Dandamaev MA, Lukonin VG. Le tresor de Zivie-Haarlem. The culture and economy of ancient Iran. Science, Moscow 1950, 1980
54. 53 Sarianidi VI. Ibid. p.246-252 (#1,2,3,10)
55. 54 Akishev AK. Necropolis Issik. Art, Moscow 1978; p.48-52
56. 55 see ill.32
57. 56 Pugachenkova GA. Artistic treasures…ill.79
58. 57 Sarianidi VI. Ibid.
59. 58 Ibid. p.246-252
60. 59 Ibid. p.246-252, #3
61. 60 Pugachenkova GA. The art of Bactria during the Kushan period. Art, Moscow 1979; p.148
62. 61 Trever KV. Ibid. tables 45,46
63. 62 Pugachenkova GA. Khalchayan…
64. 63 Kruglikova IT. Frescoes in the north-eastern building of the Dilberjin complex. Ancient Bactria, Moscow; 1979; v.2
65. 64 see Rudaki, Bedil’, Khayam, etc.
66. 65 Marshak BI. Materials on central-asian torevtics. SA 1976; 1:239
67. 66 Marshak BI. Methodology of attributing central-asian torevtics. SA 1976; 4:212
68. 67 Kuzmina EE. Bactria and the Hellenistic world in the pre-Alexander era. Antiquity and ancient traditions in art and culture of nations of the Soviet East. p.198-199
69. 68 Polevoi VM. On the art of antiquity and the middle ages. Antiquity, p.55

Jewelry of Central Asia Fully dedicated to revealing the history of the ancient jewellery of Central Asia, Dr. Elena Neva has managed to compile a sound historical overview on ancient jewellery of this region. She reveals the different artistic features, symbols, types, forms and technical aspects of the ancient jewelry of Central Asia, ranging from the medieval period to the present time. Author Pages Illustrations Language ISBN                                          Dr. Elena Neva 144 34 English 978-1-934881-11-8 Order >>

Art of Ancient Jewelers The author researching treasures from Central Asia (4 BC-4AD). Readers will go  to a  fascinating trip to Bactria, became familiar with types and forms of ancient jewelry. Learn more about symbols and semantics behind the images.  "Travel" to the past helps better understand the future! Author Pages Illustrations Language ISBN Library of Congress Control Number Dr. Elena Neva 124 34 Russian 978-1-934881-05-7 2008925065 Order >>