Lydian Art: Diversity and Cultural Interaction on an Anatolian Kingdom R

Lydian Art: Diversity and Cultural Interaction on an Anatolian Kingdom R. Gül Gürtekin-Demir Doç. Dr., Ege Üniversitesi, Edebiyat Fakültesi, Arkeoloji Bölümü, Bornova-‹zmir. [email protected]

LYDIA SANATI: B‹R ANADOLU KRALLI⁄INDA ÇEﬁ‹TL‹L‹K VE KÜLTÜREL ETK‹LEﬁ‹M

Özet Lydia Krall›¤› tarih boyunca zenginli¤i, bereketli topraklar› ve ayn› zamanda güçlü krallar› ile öne ç›k- m›fl yerli bir Anadolu kültürüdür. Lidya bölgesi co¤rafi konumundan dolay› hem bat›daki ‹onial› komflular›ndan gelecek Yunan etkilerine, hem de do¤udaki komflular›ndan gelecek Phryg ve Ön Asya etkilerine aç›k bir noktada yer almaktad›r. Lydia kültürüne ait önemli arkeolojik veriler en iyi Sardis’te uzun y›llard›r düzenli olarak sürdürülen kaz›larda, ayn› zamanda Lydia’n›n do¤usunda ve kuzeybat›- s›nda yer alan baz› tümülüslerdeki kaçak kaz›lar sonucunda ele geçmifltir. Lydia kültürünün karakte- ristik izleri özellikle Mermnadlar sülalesinin hüküm sürdü¤ü y›llarda iyi gözlenmektedir: bu dönem Gyges’in bafla geçti¤i MÖ yedinci yüzy›l›n ikinci çeyre¤inden Kroisos’un MÖ alt›nc› yüzy›l›n ortas›n- da, Persler taraf›ndan yenilmesine kadar sürmektedir. Tümülüs buluntular›n›n ve Sardis’teki di¤er ar- kelolojik buluntular›n da gösterdi¤i üzere, Lydia’n›n kültürel etkisi Akhamenid döneminin özellikle erken safhas›nda da varl›¤›n› göstermektedir. Gerek yedinci ve alt›nc› yüzy›llardaki, gerekse de erken beflinci yüzy›l Lydia sanat eserleri incelendi¤inde çok kültürlü bir etkileflimin varl›¤› gözlenmektedir: Lydia özelliklerinin haricinde, Yunan, Persli, Phryg ve ortak Anadolu kültürlerine ait etkilerin bir ara- da harmanland›¤› dikkati çekmektedir. Bu durum, Lydia sanat›n›n kat› ve geleneksel olmas›ndan zi- yade, eklektik bir yap›da oldu¤ununa ve yeniliklere aç›k oldu¤una iflaret etmektedir. Bu inceleme bu kültürel birlikteli¤in temel olarak dikkati çekti¤i metal ve fildifli eserler, terracotta heykelcikler, mima- ri terrakottalar, duvar resimleri ve seramikler üzerindeki tasvirlerden yola ç›karak bir analiz yapmay› hedeflemektedir. Anahtar Kelimeler: Lydia, Sardis, Anadolu, Akhamenid, Kültürel Etkileflim.

Abstract Lydian Kingdom is one of the important Anatolian cultures renowned for its prosperity, fertile lands and mighty kings. The Lydian region is geographically located in an area where it can receive Greek influences from her Ionian neighbors, and Phrygian along with other Near Eastern influences from her eastern neighbor. Important archaeological evidence for the Lydian culture comes from the Sardis excavations as well as from the illegally excavated tumuli in the eastern and northeastern parts of Lydia. Traces of characteristic Lydian elements may be observed on the remains belonging to the period of the Mermnad rule, during the reigns between Gyges, ca. second quarter of the seventh century and the mid-sixth century BC, when the Persians destroyed Croesus’ Kingdom. The Lydian cultural influence continued especially during the early period of the Achaemenid rule, which may be observed on the remains from the tumuli and other archaeological remains at Sardis. There seems to be an infusion of cultural interaction that combines elements of the Lydian, Greek, Persian, and Phrygian cultures as well as of other local Anatolian traits. This may be an indication that Lydian art is more eclectic and open to new ideas rather than being strictly conservative. This study aims to analyze the depictions on metal and ivory artifacts, terracotta statuettes, architectural terracottas, wall paintings and pottery where the cultural cooperation is basically observed. Key Words: Lydia, Sardis, Anatolia, Akhaemenid, Cultural Interaction. 87

ARKEOLOJ‹ VE SANAT | 143: MAYIS-A⁄USTOS 2013 he region of Lydia is located between Ionia to the west and Phrygia to the east. Caria and Mysia frame the southern and T the northern territories respectively. Lydia was a central region of western Anatolia and it owes the Lydian history. Having attemped to ste- fertile lands to her prominent physical al the tripod from the Delphinion, He- features such as the series of river val- racles was remanded as a slave to Omp- leys (Hermus and Cayster rivers at the hale for a year.3 Omphale soon freed central area, Meander on the south and Heracles, married him and had a son Caikos on the north). The highest mo- named Tylon. Later, the dynasty shifted untain range is the centrally located from Atyads to Heraclids (or Tylonids). Tmolus ranges; Mesogis mountain ran- Having last for 22 generations the ges run on the south. Croesus set up a dynasty leaves its place to the Merm- boundary stone in Cydrara.1 This point nads whose first king Gyges was a trus- borders Caria to the south and Phrygia ted commander of Kandaules, the last to the east. As one of the native peop- Heraclid king. Herodotus tells that ha- les of Anatolia, Lydians were distinguis- ving seen Kandaules’ wife naked (upon hed by her language, which is a Palaic Kandaules’ pressure on Gyges), Gyges Anatolian subgroup of Indo-European. was forced by the queen to kill the king Lydian alphabetic system seems to be and marry her.4 Plutarch, on the other derived from the Greek. hand records that Kandaules was killed When compared to the limited infor- by a Carian named Arselis.5 mation and archaeological evidence for During the Mermnad reign the Lydians the early Lydians, both the archaeologi- had close relations with Greeks and cal and epigraphic data as well as the Anatolians. Although placed on the in- ancient literary sources provide us broa- ner part of Anatolia, the Lydian King- der information concerning the Lydian dom had strong interest on the domi- Kingdom and Lydia during the Merm- nation of coastal area of western Asia nad Dynasity, i.e., between the early se- Minor during the seventh and the sixth venth century BC and the sack of the centuries BC. Gyges controlled the Tro- Lydian capital, Sardis by Persians in the as region and the Thebe plain,6 formed mid-sixth century BC. The archaeologi- alliances with Assyria and Egypt and at- cal evidence of earlier periods is diffi- tacked several Ionian cities. The threats cult to formulate under a certain culture. The historical data considering the were continued over the Ionian cities earlier times are often mythological. by his successors, Ardys, Sadyattes, Al- 7 Ancient testimony records that the yattes and Croesus. The Lydians reac- Lydian Kingdom was ruled by two hed their most extensive control during dynasties prior to the Mermnads. The the reigns of Alyattes and Croesus first were the descendants of Atys who when they controlled all the regions to had two sons, Lydus and Tyrrhenus. Ac- the west of the Halys River (modern K›- cording to Herodotus, following a seve- z›l›rmak River), excepting Lycia and Cili- re famine in Lydia, the Lydians were di- cia.8 Croesus, son of Alyattes, was the vided into two groups.2 One group of last and the most powerful king of Lydians, leaded by Tyrrhenus left Asia Lydia and the Lydian Kingdom. After Minor and went to central Italy and la- two unsuccessful battles Croesus and ter became the ancestors of Etruscans, his kingdom was defeated by the Persi- and the other group stayed in Lydia un- ans, who also reached Lydia from the der the reign of Lydus. The last ruler for east like Medes and the Cimmerians. the Atyad dynasty seems to be Ompha- Lydia than became the first seat of a 88 le, who plays a mythological role in the Persian satrapal capital in Anatolia.

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir Ancient literary sources inform us abo- Figure 1: Silver oinochoe from, ut the wealth of Lydian Kings and their Toptepe Tumulus prestigious offerings to the Delphi (Cahill 2010, 528, Orackle center as well as the Lydian lu- no. 162). xurious habits.9 The luxurious lifestyle of Lydians seems to have served as one of the principal oriental role models for the Greeks living in the western Asia Minor:10 Sappho, Alkaios, Alkman, Hip- ponax and Xenophanes mentions some elements of the luxuries of the Lydians: purple garments, elegant hairstyles, having false curls, wearing jewelry and scarlet, decorated leather slippers and headbands and all kinds of fragrances, incense and exquisite scents. Lydians were also famous with transparent, flesh-colored linen fabric used for garments called sandykes, and a type of 14 cloth with gold sewing. The good qua- city walls. The invention of coinage is lity and the colors of the Lydian carpets attributed to the Lydians. The earliest were also among the oriental interests solid gold coins were known as “Croe- of Greeks. In this manner of having the sids”, named after the first King who Lydian habits, as the ancient sources in- had them minted. The kingdom pro- form, the Greeks displayed the features bably manipulated the amounts of sil- of an elite and luxurious lifestyle. We ver and gold in the coins.15 With the ex- can see the reflection of this lifestyle in ception of coinage, works in precious the wide distribution of lydions, the un- metal is almost exclusively known from guent flasks of Lydian origin.11 The the remains of the illegally excavated lydion shape, frequently made of clay tumuli near Uﬂak, Güre in eastern Lydi- and rarely in metal, was the only shape a near the Phrygian borders and in K›r- invented by the Lydian potters, extensi- ka¤aç, Harta in north western Lydia. vely used and imitated in and out of “The Lydian Treasure” includes presti- Anatolia. The shape was internationally gious items of grave assemblages of eli- known not for the sake of its shape but tes of the second half of the sixth cen- for the fame of its content, some kind tury BC, from the early Achaemenid pe- of scented cream or perfume, which riod.16 Among the burial offerings are may have been baccaris.12 silver and bronze pitchers, bowls, lad- les, incense burners, clothing orna- The major source of wealth of the Lydi- ments, jewelry, punches and molds, as ans came from the rich gold and elec- well as wooden and ivory objects. Some trum deposits controlled by the royal other items of these looted graves we- family. The Kingdom controlled mines re also made of glass and stones, such in between Atarneus and Pergamon, as agate and chalcedony. All of these Sardis, Abydos and Magnesia ad Sipy- burial gifts seem to be indications of lum.13 The alloy called electrum inclu- prosperity and may signify the high sta- ded gold and silver. The Lydians refined tus of the deceased. gold and silver from this alloy by using several technical processes at Sardis du- The implementation of the burial klinai ring the first half of the sixth century and the depiction of the wall paintings BC in installations placed outside the as well as the artistic reflection of some 89

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir Figure 2: Silver and gold phiale, ‹kiztepeTumulus (Cahill 2010, 532, no. 167).

metal vessels render syntax of Greek, of the vessel is about 17 cm. The hand- Anatolian and Persian elements. The sil- le is in the form of a naked male youth ver oinochoe from the Toptepe Tumu- leaning and bending backwards. He lus in eastern Lydia is a good example holds the tails of two lions with both that reflects the composition of multi- hands. His feet are rest on two recum- cultural influences17 (Fig. 1). The height bent rams. The kymation around the

Figure 3: Persepolis apadana relief (http://upload.wiki pedia.org/wikipedi a/commons/6/68/).

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir Figure 4: Reconstruction of chamber, Harta Tumulus (Özgen et al. 1996, 37, fig. 60).

rim as well as the hair style and anato- The wall painting recovered from the mical representation of the youth ref- Harta and Aktepe tumuli dating to the lects Greek taste, while on the other late sixth and the early fifth centuries hand the animal themes and their de- BC also support the infusion of cultures. piction indicate Persian influence. The antechamber and the tomb cham- Another indication of an interaction ber of the Harta Tumulus located at the with the Achaemenid art is demonstra- northwestern Lydia are surrounded ted on a phiale from ‹kiztepe Tumulus, Figure 5: Persian also located in eastern Lydia.18 (Fig. 2) male, Harta It is made with golden inlay over silver. Tumulus (Özgen et al. 1996, 69, no. 4). It carries golden lobes alternating with gold reliefs of the Persian king with spear and quiver standing on a ring with double-eagle heads. Two other silver omphalos phiale from the same tumulus also bear Persian elements.19 One of them depicts a row consisting six pairs of a Persian male fighting aga- inst a standing lion. The Persian is crow- ned, bearded and equipped with a quiver at his back. The other silver phiale bears a row of two crouched antithetic bull protomes over a winged sun disk alternately placed in between lobes. The relevant types of phiale and the silver oinochoe are also depicted on the Persepolis Apadana reliefs (Fig. 3). Among other metal remains of the tumulus finds, the golden necklace with acorn pendants from Toptepe Tumulus has parallels in the Phrygian and Greek jewelry of the sixth and the fifth centu- 20 ries BC. 91

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir Figure 6: Terracotta with an Ionic kymation consisting male figure, Sardis, HoB (Greenewalt of an egg-an-dart frieze and with a 1971, pl. 14). bead-and-reel band above the burial kline which is supported by sphinxes21 (Fig. 4). Above the band a frieze of gift-bearers in a proces- sion embellished the walls. The preserved examples of this wall painting included at least three atten- dants.22 Two of them are painted over a white ground. The two men wear tunics. The third man is dressed in a Persian style, walks to right immediately behind a white horse with a knotted tail. (Fig. 5) The knotted tail of the horse as well as the man wearing a white tiara and Persian attire are elements of Acha- emenid iconography.23 Another looted tumulus chamber with wall paintings is located in eastern Lydi- a at Aktepe.24 The standing figures walks towards the kline to the deceased. Each of the figures holds a branch which may have been gifts to the deceased. This example may suggest the Lydian adaptation of figural art shared by Anatolians and Figure 7: Architectural Ionians. terracotta fragment The metal vessels and the wall pain- (Cahill 2010, 452, no.56.). tings are examples that suggest a blend of cultural infusion that consists of Lydian, Phrygian, Greek and Persian elements. This blend may further be supported by a terracotta male figure that was recovered in an area called HoB (House of Bronzes) which had formed part of the residential and commercial quarter of ancient Sardis.25 (Fig. 6) This hollow terracotta image por- trays a male figure with beard and long hair, dressed in sleeved jacket with hood-like appendage at back, shirt-like garment, banded trousers (?) and shoe(s). The beard starts immediately below the hair near the ears, continuing down and cove- ring the lower cheeks and chin. The 92 character of fabric and paints sug-

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir Figure 8: Architectural terracotta fragment from Psidia (Greenewalt 2010d, 221, fig. 5)

gests a Sardian production. This fi- Figure 9: “Ephesian Ware” miniatur gurine might have been used as a dinos, Metropolitan liquid container dating to the late Museum of Arts sixth century BC according to Gre- (inv. no. 1977.11.3) enewalt. He suggested that the (http://www.insecula.com/oeuvre/O000 sleeved garments were parallel to 9306.html). the long sleeved cloaks depicted in many Greek, Persian and Anatolo- Persian art, and that this garment was peculiar to Iranian costume and was called kandytes by the Greeks. Trousers may also represent a Persian or a Mede. This ma- Figure 10: le might also be a Lydian dressed Croesus depicted on in Iranian clothing.26 an amphora by Myson, late sixth or Another male figure with long ha- early fifth century ir and beard is represented on a BC (Louvre G 197). fragment of a painted architectural terracotta relief discovered at Sardis (Fig. 7). The man depicted on this relief wears earrings. The beard starts on the right temple, immediately to the right of ear and seems to be a continuation of the hair above. The beard is only followed on the upper part of cheeks and the upper chin, leaving the lower chin and lower cheeks clean shaved. There is no moustache. The male wears a red garment that is framed with a meander row on the upper part. This architectu- 93

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir Figure 11: Ivory ral fragment which be- head, Sardis (Dusinberre 2010, longs to a sima was dis- 196, fig. 3). covered in a fill associa- ted with a level dating to the mid-sixth century BC Persian destruction, in a room unearthed at sector PN.27 Ramage suggests that the male figure may represent a Lydian horseman.28 The architectural terracotta discovered near Düver in Psidia bear parallel features with the terracotta male figurine and the architectural fragment found at Sardis (Fig. 8). The fragment belongs to a sima and bears a rider, per- haps a Lydian cavalry with eastern trousers. Like the other two ma- les (Figs. 6-7), this male also has a beard which starts below hair, near

Figure 12: Bone the temple. He has no “Animal Style” moustache. The beard, chape, Sardis similar to the terracotta (Dusinberre 2010, figurine (Fig. 6) conti- 195, fig. 2). nues down the lower part of the cheeks and chin. The long hair seems to be common among Lydian men as also illustrated on a mi- niature dinos of “Ephe- sian Ware” group discovered near Güre in eastern Lydia, now in Metropolitan Museum of Arts (inv. no. 1977.11.3) (Fig. 9). Per- haps the most famous Lydian man illustrated on an ancient artifact is the depiction of Croe- sus. The Attic red figu- 94 re amphora dating aro-

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir und the late sixth or Figure 13: Boat-shaped vessel early fifth century BC, from Sardis, painted painted by Myson, illus- with so-called “Early trates Lydian King Croe- Fikellura”style and sus on a pyre following marbling. (Greenewalt 2010a, the sack of Sardis by the 463, no. 70). Persians during the reign of Persian ruler Cyrus. Croesus is dressed up in Greek garment and has long beard and a moustache not very different from other Greek men (Fig. 10). These terracotta frag- ments as well as the pottery evidence suggests that Lydian men commonly preferred long hair and beard that covers either the lower cheeks and chin or upper cheeks and chin, and that they occasionally wear earrings. Xenep- hon records that it was common among Lydian 29 men to wear earrings. Figure 14: A Lydian Bearded man wearing amphora from earrings were depicted Sardis:a Myrina amphora painted in on some Orientalizing bichrome and pottery attested in the streaky glaze. Aeolis region.30 If we accept the Lydian fashion for men to wear earrings then it would seem difficult to distin- guish the gender of an ivory head discovered in a tomb at Sardis (Fig. 11). The small head da- tes from the Achamenid period. The upper part of the head is not preserved, and this makes it less possible to identify its gender. There is a grooved crescent-shaped carving on each che- ek and a third one over 95

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir the chin. The figurine holds two roun- The figural style of Lydian pottery is de- ded earrings in the shape of a rosette.31 rived from the Eastern Greek Orientali- zing style, from the wild goat style. The decorative ends to scabbards were There are three groups that locally discovered from the Archaic levels at adapt the Eastern Greek wild goat Sardis (Fig. 12). The style is related to style: the Lydian (Sardis-style) wild goat the “animal style” reminiscent from the style, early Fikellura and the Ephesian Scythian art.32 One of the examples is ware:34 left unfinished and therefore indicates a local production. Ivory, as elephant The wild goat style is executed with the tusks or hippo teeth, came as raw mate- common colors also preferred on the rials most probably from Africa or Indi- other painting styles of Lydian pottery a. The Lydians seem to be good ivory as well as on the architectural terracot- craftsmen who not only carved but also tas: white, red and dark. Greenewalt colored as Homer mentions in the Illiad. suggested that the Sardis-style flouris- Dusinberre suggests that there might hed around 600 or shortly thereafter, have been a relation between the ivory and was made within a relatively short at Phrygia and the metalwork at Lydia period of time, probably no more than and that these regions may have been twenty years. A group of pottery from the places where the luxury items were Sardis, mostly of skyphoi and flask-like manufactured.33 vessels, which reflects wild goat style tradition and elements point to pre-Fi- The cultural mix of styles, shapes and kellura style, has been named early Fi- ideas is apparently demonstrated on kellura by Greenewalt. Greenewalt sug- the local Lydian painted pottery. The gested that early Fikellura pottery was coloring of the terracottas in bright red made somewhere in western Lydia, a and white colors and a matt dark paint non-Greek part of Asia Minor in ca. is similar to the Lydian painted pottery. 625-575. Fine creamy-white slip, man- The Lydian pottery is best defined from ganese dark glaze and red metallic she- the remains discovered at Sardis. The en with iron oxide content mark the Lydian painted pottery comprises ele- technical characteristics of these vases. ments or influences from Greek, from common Anatolian koine and from The boat-shaped vessel is a good Phrygia. The result of this blend of inf- example which shows the combination luences is what Lydian pottery actually of local marbling on the interior and looks like. There are three main colors the Greek Orientalizing animal style on of preference: bright red paint with an the exterior (Fig. 13). The S-shaped tu- iron oxide base which would result co- bular sipping spout may be a Phrygian lor tones between light orange and inspiration.35 The combination of ani- dark brown (similar to Greek glaze), mal figures with the Lydian marbling is bright white and matt dark which inclu- also observed on a provincial Lydian des manganese. The shapes are to a kantharos from Düver, now in the Sad- large extent taken from the Greek re- berk Han›m Museum36 and on a provin- pertory which commonly includes amp- cial Lydian oinochone in Philadephia.37 hora and hydria, oinochoe, lekythos, Confronted recumbent deer and marb- column krater, skyphos and fruit stand. ling decoration are illustrated on both Dinos, phiale, kantharos, kalathos and of these vessels. It is interesting to note Pyxis are less preferred. Shapes of here that recumbent animals are also Phrygian origin are rare. As mentioned commonly preferred on metal objects above the only shape invented by the attested from the illegally excavated 96 Lydians is lydion. tumuli.38

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir Figure 15: Black-on-red cup, Sardis (Greenewalt 2010a, 114, fig. 8).

The Ephesian ware includes elements chain) and filling ornaments (ascendant from both the Anatolian bichrome and triangle) with popular Lydian decorative black-on-red as well as the floral deco- elements (a row of concentric hooks) on ration and animal style from the Greek a Myrina type of amphora. Orientalizing style. It is composed of fi- Figural compositions that comprise ani- ne and delicate painted decoration of mal friezes and human compositions narrow bands of pattern ornaments are depicted on a silver alabastron ex- and friezes of floral and animal decora- cavated from the ‹kiztepe tumulus.39 tion. It is dated to between the mid-se- The alabastron is divided into five regis- venth and the mid-sixth century BC. Fi- gural scenes are extremely rare on the ters, each bordered with transitional Lydian painted pottery. A small dinos in narrow bands of several patterns. The the Metropolitan Museum of Art, pain- registers include pairs of cocks, lions at- ted in the Ephesian ware style, may be tacking bulls, armed hoplites, grazing counted as a unique example among deer and a floral ornament of palmet- Lydian pottery that illustrates Lydian tes. The figural style reminds the Greek men in a frieze (Fig. 9). Orientalizing style. Another silver alabastron which is decorated with figural An amphora that may be dated to the registers is excavated from Basmac› tu- first half of the sixth century was exca- mulus in eastern Lydia.40 vated at sector HoB in Sardis (Fig. 14). The fabric of this amphora shows homo- There are also examples of some vessels geneity with the Sardis clay. It combines that either imitate a particular shape or several foreign influences on it: it is pa- imitate both the shape and its style. inted with an Anatolian painting techni- These illustrate a series of local imitati- que (bichrome) and a local Lydian con- ons of well-known Greek pottery clas- vention (“streaky glaze”, i.e, the overall ses, such as bird-bowls, Protocorinthian painting with a thick brush dipped into linear kotylai, Ionian cups, and wave-li- a diluted glaze); the decorative ele- ne amphorai/hydriae. Bird bowls, a gro- ments combine Eastern Greek Orientali- up of vessels popular in the Subge- zing floral patterns (lotus and palmette ometric period at the Eastern Greek 97

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir Figure 16: Pottery imitation of Phrygian type metal bowl from Sardis.

centers, were also produced at Sardis as ters, and were largely accepted in the local imitations of Greek pottery.41 A repertory by the Lydians. Lydians had couple of examples were found in the their own version of the decorative late eighth-early seventh century BC le- scheme, as they had on many other vels.42 These examples bear a local fab- classes of pottery. This group of vessels ric, and have a nicked rim. They have was popular in the sixth century BC.45 metopes alternately decorated with lo- Ramage suggests that a group of wave- zenge and bird in the handle zone. Be- line amphora and hydria that are disco- low the handle zone is plain streaky- vered at sector HoB may have been re- glazed. used as stands.46 Imitations of Protocorinthian linear Black-on-red and bichrome pottery we- kotylai have thicker walls and a coarser re common Anatolian Iron Age trends decoration when compared to the Co- between the eighth and the sixth cen- rinthian linear kotylai, which have thin- turies BC.47 Although the origin of the- ner walls and delicate drawing conven- se painting conventions may be obser- tions.43 The scheme of decoration that ved in the Eastern Mediterranean da- basically consists of parallel horizontal ting to the earlier periods, their execu- lines, often combined with rows of zig- tion in Anatolia has various local vari- zags or water birds in between the ations and chronological ranges. Howe- handles, is observed on the Protocorint- ver, the preference of the colors and so- hian kotylai of the early seventh cen- me of the patterns remain constant. The early/geometric Lydian black-on- tury BC. Lydian imitations were found red pottery, dating to the late eighth together with imported Protocorinthi- and the seventh centuries BC, generally an pottery of the early seventh century uses decorative elements reminiscent of BC at Sardis.44 the Greek Protogeometric and Geomet- Wave-line amphora and hydria seem to ric repertory; however with a local be one of the popular classes in the Arc- adaptation in a scheme that differs 98 haic period of the Eastern Greek cen- from the Greek.48 The late/linear black-

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir Figure 17: Strainer-spouted vessel from Sardis, Metropoliatan Museum of Art (inv. no. 14.30.9) (www.insecula.com/ PhotosNew/00/00/02 /64/ME0000026415_ 3.JPG ).

on-red pottery, on the other hand, on levels.51 Phrygia was an important commonly prefers narrow horizontal production center for metal bowls. spiral bands and narrow bands of linear Phrygian type of metal bowls which we- patterns. In this respect, the later type re popular during the eighth and the is similar to the Cypro-Cilician black-on- seventh centuries BC have shallow red pottery.49 The shapes of black-on- bowls, spool-shaped attachments, verti- red include both Greek and Phrygian cal lugs and swiveling ring handles.52 shapes. A Lydian late/linear black-on- The strainer-spouted jug and the red drinking cup dating to the early Phrygian type of metal bowl both bear sixth century BC combines the Anatoli- marbleizing decoration (Figs. 16-17). an black-on-red painting with the Ioni- The marbling bowl was excavated in a an type of cup (Fig. 15). tomb at Sardis, dating to the sixth century BC; it has a hand-made shallow The Phrygian aspects on Lydian pottery bowl with two pierced stool-shaped at- seems to be limited with the imitations tachments and vertical lugs53 (Fig. 16). or adaptations of famous Phrygian sha- The marbling strainer-spouted jug, on pes such as the pottery version of the other hand was also excavated from Phrygian-type metal bowls, strainer- a tomb dating to the sixth century BC54 spouted jugs and one-handled jugs. (Fig. 17). These Lydian vessels adapted Lydian white bichrome is more reminis- the Phrygian shapes, however added cent of Phrygian bichrome ware, especi- aspects of Lydian elements, such as the ally in the execution of ornaments in marbleizing decoration and the conical broad bands and its spacey use of whi- foot on the strainer-spouted jug. te background.50 Several varieties and types of strainer-spouted jugs were at- Some of the traditional elements of Lydi- tested in Phrygia, including its central an pottery seem to continue during the and Halys regions. The examples at Gor- Akhaemenid period or even in the early dion are attested both in the Destructi- Hellenistic period.55 Popular shapes such on Level (ca. 800) and in post-destructi- as skyphos, wave-line amphora/hydria 99

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir and column krater were among the con- As a conclusion it may be suggested ventional Lydian vessels. However, they that the Lydians were open to foreign now tend to have thinner walls and mo- influences and adapted the aspects re matt colored slips or overall plain from Anatolian, Ionian and Persian cul- matt painted areas; there is still a prefe- ture to fit their own taste. Their art was rence for additional white or red narrow more flexible and eclectic rather than bands, rows of petals or dots. being rigid conservative.

NOTES 1. Herodotus 7.30-1; Xenephon, Hellenica 3.2.12-14; Strabo 12.8.15/577, 14/663. 2. Herodotus 1.94. 3. Sophocles, The Trachiniae, 69. 4. Herodotus 1.12. 5. Plutarch, Questiones Graecae 45. 6. Strabo 13.1.22. 7. Herodotus 1.14-17; Pausanias 4.21.5; 9.29.4. 8. Herodotus 1. 26-28; Strabo 13.1.42. 9. Herodotus 1.13-14, 1.25; Pausanias 10.16.1-2; see also Blackman and Sawyer 2000. 10. Crielaard 2009, 61-62, notes 171-76. 11. Crielaard 2009, 62. 12. For baccaris see Greenewalt 2010c, 201-204. 13. Strabo 13.1.23/591; 14.5.28/680. 14. Ramage and Craddock 2000, 200-211; Greenewalt 2010b, 135-141. 15. Cahill and Kroll 2005, 612-614. 16. Özgen et al. 1996. 17. Özgen et al. 1996, 150-151, no. 106. 18. Özgen et al. 1996, 87, no. 33. 19. Özgen et al. 1996, 88, no. 34 and 89, no. 35. 20. Özgen 2010, 321, 538, no. 175. 21. Özgen et al. 1996, 37, fig. 60. 22. Özgen et al. 1996, 68-69, nos. 2-4; Özgen 2010, 328-329. 23. Özgen 2010, 326-327. 24. Özgen et al. 1996, 41-44. 25. Greenewalt 1971a. 26. Greenewalt 1971a, 44. 27. Ramage 1978, 15-16, fig. 33 28. Ramage 1978, 16. 29. Xenephon, Anabasis, 3.1.31. 30. ‹ren 2003, nos. 81-82, pl. 19. 31. Dusinberre 2010, 193, 195. 32. Dusinberre 2010, 193, 195, fig. 2. 100 33. Dusinberre 2010, 194.

LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir 34. Greenewalt 1970, 1971b, 1973. 35. Greenewalt 2010a, 463. 36. Greenewalt 2010a, 113, 118, fig. 18. 37. Greenewalt 2010a, 116, fig. 12. 38. Özgen et al. 1996, 193-197. 39. Özgen et al. 1996, 124-125, no.78. 40. Özgen et al. 1996, 238-239, no. 228. 41. Gürtekin 1998, 166, 168. 42. Gürtekin 1998, 172. 43. Gürtekin 1998, 166, 169. 44. Gürtekin 1998, 173. 45. Greenewalt 2010a, 465, no. 72. 46. Ramage 2008. 47. Gürtekin-Demir 2002, 119-121 (Lydian bichrome); Gürtekin-Demir 2011 (Lydian black-on-red). 48. Gürtekin-Demir 2011, 363-368. 49. Gürtekin-Demir 2011, 368-372. 50. Gürtekin-Demir, Forthcoming. 51. Sams 1994, 67-70. 52. Young 1981, 125-130, pls. 65-57. 53. Knudsen 1964. 54. Greenewalt 1966, 148-149. 55. For the continuity of Lydian shapes during the Akhaemenid period and for the Achaemenid bowls see Dusinberre 1999, 73-101; 93-96 (Lydian shapes). For the continuity of Lydian elements and for the Akhamenid Bowls in the Hellenistic period see Rotroff and Oliver 2003, 60-66.

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LYDIAN ART: DIVERSITY AND CULTURAL INTERACTION ON AN ANATOLIAN KINGDOM | R. Gül Gürtekin-Demir