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A SILVER ALLOY COMB WITH LIONS, EURASIAN STEPPE, PROBABLY SCYTHO-SIBERIAN, CIRCA 4TH CENTURY BC
奥地利 北京时间
04月11日 下午5点 开拍 /7天5小时
拍品描述
A SILVER ALLOY COMB WITH LIONS, EURASIAN STEPPE, PROBABLY SCYTHO-SIBERIAN, CIRCA 4TH CENTURY BCFinely crafted in openwork with an arched handle enclosing a pair of lions facing each other below scrolling vines, the top with a band of S-scrolls topped by a loop finial, the sides with bands of stylized arrowheads, all above sixteen tines.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Good condition, commensurate with age. Extensive wear, soil encrustations, some losses, expected dents, nicks and scratches, tarnishing. The tines partially bent.Weight: 291.3 g Dimensions: Width 10.7 cm, Height 14 cmScytho-Siberian art, which flourished during the late first millennium BC and persisted into the early first millennium AD, primarily consists of decorative objects such as jewelry, produced by the nomadic tribes of the Eurasian Steppe. By the 4th century BC, the western edges of this vast steppe world were loosely defined by ancient Greek geographers, while Persian and Chinese sources provided their own classifications of the nomadic peoples. The identities of these groups remain fluid in historical records, and the term 'Scythian' should often be understood as a broad category rather than a single ethnic designation.During this period, steppe cultures saw significant transformations. The Sarmatians, who had begun supplanting the Scythians west of the Don River by the 4th century BC, expanded their influence into Eastern Europe, ultimately interacting with and contributing to the militarized frontier of the Roman Empire. Further east, the Yuezhi and Wusun, mentioned in Chinese sources, were prominent along the Central Asian steppe corridors, while the Xiongnu Confederation (which emerged in the late 3rd century BC) became a dominant force, pressing against Han China's northern borders. By the late 4th century AD, the decline of the Xiongnu gave way to later steppe empires, such as the Rouran Khaganate and the Hephthalites, who played a significant role in shaping the geopolitics of Central and South Asia.Throughout these centuries, the artistic traditions of steppe nomads retained a remarkable degree of continuity, despite shifting political and ethnic landscapes. The highly stylized animal motifs found in Scytho-Siberian art persisted in the metalwork and textiles of later steppe cultures, including the Sarmatians, the Alans, and even the early Huns. Archaeological evidence from sites such as Pazyryk, Tagar, and Xiongnu burial complexes suggests a shared visual language, blending indigenous traditions with artistic influences absorbed through contact with settled civilizations like Persia, Greece, and China. The art of these peoples is collectively known as steppes art.Literature comparison: Compare a related Scythian golden comb, made by Greeks probably to Scythian taste, from Solokha near Kamianka-Dniprovska, Zaporizhzhia Oblast, Ukraine, early 4th century BC, in the State Hermitage Museum.
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