Parthian art in the context of "Palmyra"

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⭐ Core Definition: Parthian art

Parthian art was Iranian art made during the Parthian Empire from 247 BC to 224 AD, based in the Near East. It has a mixture of Persian and Hellenistic influences. For some time after the period of the Parthian Empire, art in its styles continued for some time. A typical feature of Parthian art is the frontality of the people shown. Even in narrative representations, the actors do not look at the object of their action, but at the viewer. These are features that anticipate the art of medieval Europe and Byzantium.

Parthian sites are often overlooked in excavations, thus the state of research knowledge in Parthian art is not complete. The excavations at Dura-Europos in the 20th century provided many new discoveries. The classical archaeologist and director of the excavations, Michael Rostovtzeff, realized that the art of the first centuries AD from Palmyra, Dura Europos, and also in Iran as far as the Greco-Buddhist art of north India followed the same principles. He called this art style Parthian art.

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Parthian art in the context of Parthian Empire

The Parthian Empire (/ˈpɑːrθiən/), also known as the Arsacid Empire (/ˈɑːrsəsɪd/), was a major Iranian political and cultural power centered in ancient Iran from 247 BC to 224 AD. Its latter name comes from its founder, Arsaces I, who led the Parni tribe in conquering the region of Parthia in Iran's northeast, then a satrapy (province) under Andragoras, who was rebelling against the Seleucid Empire. Mithridates I (r.c. 171 – 132 BC) greatly expanded the empire by seizing Media and Mesopotamia from the Seleucids. At its height, the Parthian Empire stretched from the northern reaches of the Euphrates, in what is now central-eastern Turkey, to present-day Afghanistan and western Pakistan. The empire, located on the Silk Road trade route between the Roman Empire in the Mediterranean Basin and the Han dynasty of China, became a center of trade and commerce.

The Parthians largely adopted the art, architecture, religious beliefs, and regalia of their culturally heterogeneous empire, which encompassed Persian, Hellenistic, and regional cultures. For about the first half of its existence, the Arsacid court adopted elements of Greek culture, though it eventually saw a gradual revival of Iranian traditions. The Arsacid rulers were titled "King of Kings", claiming inheritance of the Achaemenid Empire; indeed, they accepted many local kings as vassals, although the Achaemenids would have had centrally appointed, albeit largely autonomous, satraps. The court did appoint a small number of satraps, largely outside Iran, but these satrapies were smaller and less powerful than the Achaemenid potentates. With the expansion of Arsacid power, the seat of central government shifted from Nisa to Ctesiphon along the Tigris (south of Baghdad), although several other sites also served as capitals.

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Parthian art in the context of Gandharan Buddhism

Gandhāran Buddhism was the Buddhist culture of ancient Gandhāra, which was a major center of Buddhism in the northwestern Indian subcontinent from the 3rd century BCE to approximately 1200 CE. Ancient Gandhāra corresponds to modern day north Pakistan, mainly the Peshawar Valley and Potohar Plateau as well as Afghanistan's Jalalabad. The region has yielded the Gandhāran Buddhist texts written in Gāndhārī Prakrit the oldest Buddhist manuscripts yet discovered (1st century CE). Gandhāra was also home to a unique Buddhist artistic and architectural culture which blended elements from Indian, Hellenistic, Roman and Parthian art. Buddhist Gandhāra was also influential as the gateway through which Buddhism spread to Central Asia and China.

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Parthian art in the context of Sasanian art

Sasanian art, or Sassanid art, was produced under the Sasanian Empire which ruled from the 3rd to 7th centuries AD, before the Muslim conquest of Persia was completed around 651. In 224 AD, the last Parthian king was defeated by Ardashir I. The resulting Sasanian dynasty would last for four hundred years, ruling modern Iran, Iraq, and much territory to the east and north of modern Iran. At times the Levant, much of Anatolia and parts of Egypt and Arabia were under its control. It began a new era in Iran and Mesopotamia, which in many ways was built on Achaemenid traditions, including the art of the period. Nevertheless, there were also other influences on art of the period that came from as far as China and the Mediterranean.

The surviving art of the Sassanids is best seen in its architecture, reliefs and metalwork, and there are some surviving paintings from what was evidently a widespread production. Stone reliefs were probably greatly outnumbered by interior ones in plaster, of which only fragments have survived. Free standing sculptures are fewer than in Parthian art, but the Colossal Statue of Shapur I (r. AD 240–272) is a major exception, carved from a stalagmite grown in a cave; there are literary mentions of other colossal statues of kings, now lost. There are important Sassanid rock reliefs, and the Parthian tradition of moulded stucco decoration to buildings continued, also including large figurative scenes.

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Parthian art in the context of Arsacid dynasty

The Parthian Empire (/ˈpɑːrθiən/), also known as the Arsacid Empire (/ˈɑːrsəsɪd/), was a major Iranian political and cultural power centered in ancient Iran from 247 BC to 224 AD. Its latter name comes from its founder, Arsaces I, who led the Parni tribe in conquering the region of Parthia in Iran's northeast, then a satrapy (province) under Andragoras, who was rebelling against the Seleucid Empire. Mithridates I (r.c. 171 – 132 BC) greatly expanded the empire by seizing Media and Mesopotamia from the Seleucids. At its height, the Parthian Empire stretched from the northern reaches of the Euphrates, in what is now central-eastern Turkey, to present-day Afghanistan and western Pakistan. The empire, located on the Silk Road trade route between the Roman Empire in the Mediterranean Basin and the Han dynasty of China, became a center of trade and commerce.

The Parthians largely adopted the art, architecture, religious beliefs, and regalia of their culturally heterogeneous empire, which encompassed Persian, Hellenistic, and regional cultures. The Arsacid court initially adopted elements of Greek culture, though it eventually saw a gradual revival of Iranian cultural traditions. In modern historiography, the Arsacids are considered the first indigenous Iranian dynasty to come to power in the Iranian world after the Achaemenids, in contrast to the Seleucids who represented Hellenistic rule after Alexander the Great. The Arsacid rulers were titled "King of Kings", claiming the inheritance of the Achaemenid Empire; indeed, they accepted many local kings as vassals, though the Achaemenids had centrally appointed, albeit largely autonomous, satraps. The Parthian court appointed a small number of satraps, largely outside Iran, but these satrapies were smaller and less powerful than the Achaemenid potentates. With the expansion of Arsacid power, the seat of central government shifted from Nisa to Ctesiphon along the Tigris (south of Baghdad), although several other sites also served as capitals.

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