The Reign of Alexander The Great as a Catalyst For The Impact Of Greek Culture on the Areas of the Middle East

Both the time of Alexander and the Hellenistic dynasties, which took power after his death, is marked by a significant change in thinking about art. In some respects, the idea is directed towards the ostentatious expression of military power. The impact of Hellenization has left its mark on the art and architecture of the newly conquered territories in the east. A characteristic feature of the art of the period in question is the surprising spread of twin styles in very spatially and temporally distant places: from Persia to India, Siberia; from V to the I century BC. Intensive migrations of peoples favoured this tendency. This is his influence and authority on the art of Persia, Mesopotamia and Bactria.

Asia in 200 BC, Author:Talessman License:CC BY 3.0

Seleucid prince, perhaps Attalus II of Pergamon, 3rd-2nd centuries BC, Author:Marie-Lan Nguyen License:Public Domain

***Persia***

Persian art was heavily influenced by the Greek, as we can see on the examples of coins and seals from that area. While the classic shapes of figures and performance materials are preserved, the detail has changed: the horses in the hunting scenes received the Greek appearance (sharp noses, raised mane). To this day, there are not many examples of Seleucid sculptures. An example of a preserved sculpture is the representation of Heracles in the rock ridge at Behistun. Heracles was locally assimilated with god Verethragna (Boardman, 1995: 79).

Statue of Hercules is located in Mount Behistun 153 BC,Author:Ninara License:CC BY 2.0

Triumphal arch at Uruk. 1st cent. AD, Author:https://erenow.com

In search of Hellenistic influences on the sculpture of the Middle East, attention should be paid to architecture (although urban planning and engineering were often un-greek). Highly Hellenized areas were centers such as Hatra, Ashur, even Palmira and Syria. They were the core of the Seleucid kingdom, and the Parthian kings declared Philo-Hellenism. Greek ornamental art was present throughout the entire Persian territory. The Parthians managed to separate the decorative and constructional function of the columns, used them to decorate the facades, thus disturbing the proportions of the shaft and the capitol - an example of the facade of the temple in Uruk (pictured).

Another Greek influence is plant ornaments with acanthus leaves, often in unprecedented functions, for example as a frieze element. The use of these Greek elements, however, was subordinated to local customs in design.

Antiochus I of Commagene, shaking hands with Heracles, 70–38 BC, Arsameia, Author:Klaus-Peter Simon License:CC BY-SA 3.0

In the western regions, the rulers of Commagene worshiped Persian deities, presenting them in a typical Greek outfit, combining Eastern formalism (representations of kings) with classical sculpture (depictions of deities). Greek Heracles (here integrated with the Persian Verethragna) is depicted naked with anatomy resembling a classic style. The Parthian artists showed the local deities with the characteristic of them frontality, and their costumes have a strongly expressive trait, originally created to give the shape of the body underneath, and now simplified, in the form resembling a rope's ridge. The frontalism of the figures seems to be somewhat strange and can be explained by their role: they impose divine authority on subjects.

Marble head of a Parthian queen, late 1st century B.C.E., from Susa, Iran Bastan Museum, Tehran, Author:Darafsh License:CC BY-SA 3.0

In addition, copies of portrait art were found in the Persian area. The marble head from Susa is equipped with a characteristic battle crown, often seen in sculptures found everywhere between Petra and India.

Portrait art experiences orientalization from the third century BC, and it’s especially easy to see in the coins of the Parthian rulers. The coin found near Bokhara depicts on the obverse the Parthian prince with curly hair, another coin- Heracles, and the inscription ΒΑΣΙΛΕΩΣ ΜΕΓΑΛΟΥ ΑΡΣΑΚΟΥ ΦΙΛΕΛΛΗΝΟΣ "Great King Arsaces, a friend of Greeks"

Coin of Andragoras, the last Seleucid satrap of Parthia. He proclaimed independence around 250 BC, Author:http://www.cngcoins.com License:CC BY-SA 3.0

Coin of Mithridates I (R. 171–138 BC). The reverse shows Heracles, Author:http://www.cngcoins.com License:CC BY-SA 3.0

Persian dishes are often silver, in the form of animal heads, with the mouthpiece between the front legs. Under Greek influence, these vessels were made of clay and used like mugs. The collection of dishes presented in the photograph (with unspecified dating and approximate Persian origin) made of silver. The decorations are shallow and placed on the outside of the dishes. Typically greek, is a wavy pattern at the edge. The Bokhara dish was decorated with a floral motif and Dionysian figures. Hemispherical bowls of this kind were also found in St. Petersburg and Siberia.

Silver bowl with figures set in a landscape of trees,Tibet 1st/2nd cent. AD (?).(After DCAA),Author:https://erenow.com

The vessel found in Tibet is decorated with the representation of Heracles, which is far from classical and enriched with other exotic figures. Characteristic decorations are soldered to the dish - this technique was not used in the West (Boardman, 1995: 96).

Silver cup with classicizing scenes including Herakles attacking a seated man. 1st/2nd cent. AD (?) St Petersburg, Hermitage Museum, Author:https://erenow.com

***Baktria***

The Bactrian peoples were related to the Scythians and probably to the inhabitants of the Hindu Kush. Achaemenids used to deport subordinate peoples to this land, so it is not surprising that the presence of Greek influences is strong in Bactria. There is a discussion (Boardman, 1995: 99) about the presence of Greeks in Bactria before Alexander, but archaeological evidence indicates that this country was once a prosperous kingdom with a relatively high standard of living of its inhabitants. The coins found are more evidence of existing trade with the Persians than of Greek influences. However, the Greek satrap Diodotus I managed to create a Greek state in Bactria, which has grown to the southeast from one century to the borders of India.

Map of the Greco-Bactrian at its maximum extent, circa 180 BC, Author: World Imaging License:CC BY-SA 3.0

Corinthian capital, found at Ai-Khanoum, 2nd century BC, Author: World Imaging License:public domain

Hellenization in Bactria is easily discernible. The coins look like designed by Greek artists: a typical Western size, the representation of Greek deities placed on the backs, often equipped with an inscription in the local alphabet. The city of Alexandria on the Oxus (now Ai Khanoum) founded by Alexander has many features of the Hellenistic city: it had a theatre, a gymnasium and buildings with colonnades typical of Greek cities. Sacred architecture, however, remained strictly oriental in Ai Khanoum.

Greek and Indian flame palmettes. Left: Flame palmette at Didyma, Ionia, c.300 BCE. Middle: Pataliputra capital, India, 3rd c.BCE. Right: Ashoka's Diamond throne, Bodh Gaya, India, 250 BCE, Author: Radomil License:CC BY-SA 3.0

Votive altar with Marsyas, dedicated to the River-God Oxus, from Taḵt-e sangin, Author: Boardman, Diffusion of Classical Art License:public domain

Although some of the sculptures exhibited some orientalising features, the stele and fragments of acanthus are typically Greek. The sculptural production techniques came from areas ranging from Syria to India: stucco was used, often gilding and stucco mixed with clay. An accurate illustration of the presence of the Greeks in the Middle East is the bronze statue of Satire standing on the stone altar dedicated to the river Oxus.

Bactrian dishes, like those from Patria, are also classic in style. Discs with ornamental themes of Greece were found: an elephant ridden by Greeks or a classic Griffin. The plate decorated with elongated griffin comes from Novouzensk, located about 250 km north of the Caspian Sea. (Boardman, 1995, 108).

Greek art developed in the areas of the Middle East and beyond, also in the lands that from the perspective of Greece lay at the edge of the world. At least the world, which met the conquering East Alexander. Works of Hellenic artists were created despite strong local traditions, in particular, Persian. Hellenistic art in Bactria, however, was intended for a narrow Greek minority who exercised power (Boardman, 1995: 108). Nevertheless, this art has become so strong that it has survived in various forms for many centuries - in a new form, but without a Greek identity. Narrative elements in sculpture, floral ornaments, architectural details have found a new context, whether in the sculpture of the Parthians or in the culture of nomads.

Silver gilt phaleron from Novouzensk, featuring a war elephant with turreted howdah and a ketos on the saddle cloth, St Petersburg, Hermitage Museum, Author: https://erenow.com

Silver gilt phaleron with a stretched griffin, from Novouzensk, St Petersburg, Hermitage Museum, Author: https://erenow.com

## Authored by @highonthehog

***References*** Images: sources linked below Photo: @highonthehog * Boardman, J., The Diffusion of Classical Art in Antiquity, Princeton University Press, Princeton, NJ, 1993 * Boardman, J., Greek sculpture: The Late Classical Period, Thames and Hudson, London, 1995 * Steele, J., Hellenistic Architecture in Asia Minor, Academy Editions, London, 1992 * Green, P., Hellenistic History and Culture University of California Press, 1996 ## Click on the coin to join our Discord Chat ##

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