Essay name: Scythian Elements in early Indian Art
Author:
Swati Ray
Affiliation: University of Calcutta / Department of Ancient Indian History and Culture
This essay studies Scythian Elements in early Indian Art—a topic that has not garnered extensive scholarly attention. Although much research has focused on various aspects of Saka/Scythian culture, such as politics and numismatics, their contribution to Indian art remains underexplored. This essay delves into archaeological evidence, historical texts, and art forms from Eurasian steppes to decipher the Scythian impact.
Chapter 6 - Scythian (Saka) elements in the Later Art of India
6 (of 42)
External source: Shodhganga (Repository of Indian theses)
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An interesting gold amulet case (Plate 233)! has been found from Ahin
Posh, near Jalalabad, Afghanistan. It is dated in the second, third century
A.D. The openings on this eight-sided cylinder are backed with garnets, as
are those on the two ends, one of which can be opened. The motifs on the
gold amulet case have garnet incrustations and they are similar to the
Śaka Scythian motifs. Such cylindrical amulet cases, designed to be worn
on a cord, can be seen on the chests of the bejewelled Bodhisattvas of the
Gandhāra period.
Two gold tatankacakras or discal ear ornaments (Plate 234) from
Gandhāra of circa third century A.D. are preserved in the Metropolitan
Museum of Art.2 They depict a goose with floriating feathers, in the typical
Scythian 'curved inwards' style. The central motif is encircled by a double
border.
We go further east and find at the head of the Doab of the Indus and
Jhelum rivers, the great centre of Taxila. We have already seen that Taxila
occupied a major meeting point of the trade routes coming from Kabul, from
1 Gol. Tre. Jew. Ind., p.20, Pl.17. cf. also Hugh Tait (ed.), Seven Thousand Years of
Jewellery, British Museum, London, 1986, No. 535.
2 Ear. Orn. Anc. Ind., p. 37, Fig. I. 45.
