Fragment of a bowl depicting bearded bulls (Tepe Fullol), 2200–1900 BC
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Gold bowl, Tepe Fullol
Found at Tepe Fullol, this gold bowl features images of bulls. Similar imagery can be seen on artefacts from ancient Mesopotamia (the area now known as Iraq) yet these two Bronze Age civilisations were separated by 2,000 kilometres of rugged mountains and deserts. The bowl has been reassembled – at one stage it was cut up so the profits from its sale could be shared.
Goblet with geometric motif (Tepe Fullol) 2200-1900 BC
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Goblet with geometric motif, Tepe Fullol
This fragment from a cup has a shape and design typical of the Bronze Age cultures of central Asia. The ‘stepped square’ motif is frequently found on artefacts from Afghanistan. The motif inscribed within the square first appeared 7,000 years ago and was commonly used on ceremonial objects for a further 3,000 years.
Ceremonial plate with representation of Cybele (Ai Khanum), 300-200 BC
National Museum of Afghanistan
Photo ©Thierry Ollivier / Musée Guimet
Ceremonial plate
On this gilded silver plate, the Greek goddess of Nature Cybele rides in a chariot drawn by lions with the winged goddess Nike beside her. The subject is typical of hybrid Greco-Oriental art. Details such as the high altar, the chariot, the priest with the parasol and the priest’s bare feet are typically Oriental, probably Persian. The plate is about 2,300 years old, from around 300 BC.
Bronze statue of Heracles (Ai Khanum), 300-200 BC
National Museum of Afghanistan
Photo ©Thierry Ollivier / Musée Guimet
Statuette of Heracles, Ai Khanum
Heracles was a popular hero widely worshipped in Greek central Asia. This statue is poorly cast and rustic in style. It has been repaired and may not be on its original base.
Life size sculpted head, part of a religious sculpture (Aï Khanum), 200–100 BC
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Male head, Ai Khanum
This is the head from a statue of a man important enough to have had his statue dedicated in the main temple of the town Ai Khanum. Today, his identity is not known. The sculpture was made by applying ever-thinner layers of clay to a wooden armature. It may have been gilded. The modelling of statues from clay or stucco was Hellenism’s main legacy to the arts of central Asia.
Corinthian capital (Ai Khanum), Before 145 BC
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Corinthian capital, Ai Khanum
Excavated from an important building at Ai Khanum, this capital (head of a column) is one of the rare few to have survived the destruction of the site by twentieth century pillagers. It features a style created in Syria-Mesopotamia 2,300 years ago that was a new variation on the Greek design known as ‘Corinthian’.
Hermaic sculpture (Aï Khanum), 300–200 BC
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Hermetic pillar, Ai Khanum
This hermetic pillar was found in a niche inside the northern portico of the gymnasium, a building dating back 2,200 years.
It may represent the elder Strato, who is thought to have been the director of the gymnasium. This would explain the fillet that crowns the figure’s head and the space in his left hand where a metal rod symbolising his role would fit.
Bronze cauldron handle with Dionysian figures (Ai Khanum), 200–100 BC
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Handle of a bowl, Ai Khanum
Originally this handle would have been joined to a large bowl. It features two female heads on a background of vine leaves which are a symbol of Dionysius. The heads appear to be maenads (followers of Dionysius). Their animal features are not part of the Greek tradition but instead reflect local central Asian traditions.
Large carved statuette of a woman standing on a makara (an Indian river dragon), one of three table leg ornaments (Begram), 1–200 AD
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Woman standing on a makara, Begram
Probably designed as a table leg, this ivory statue shows a woman wearing an Indian-style garment on her lower body. She is standing on a makara, a mythical beast often associated with the Indian goddess Ganga.
Painted glass beaker, (Begram), (Begram), 1-100 AD
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Painted beaker, Begram
This painted glass beaker from Begram features two male and two female figures who appear to be picking dates. It was made 2,000 years ago. The glass objects from Begram have been analysed and found to originate in Egypt which was at that time under the rule of the Roman Empire.
Decorative plaque with women standing under gateways, (Begram), 1-100 AD
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Decorative plaque, Begram
This ivory plaque was probably designed to decorate furniture and as women are depicted in the design, it may have been furniture intended for women’s quarters. The women are standing under an Indian arch, wearing Indian-style garments on their lower bodies.
Glass flask in the shape of a fish, (Begram), 1-100 AD,
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Fish shaped flask
This fish-shaped receptacle, perhaps a flask, is made of yellow and blue glass. Its exact function is not known. Like the glass beaker, this artefact originated in Roman Egypt.
Golden appliqué in the form of a Bactrian Aphrodite, (Tillya Tepe), 100 BC - 100 AD
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Appliqué ‘the Aphrodite of Bactria
This gold appliqué was found on the chest of a princess buried at Tillya Tepe. The figure is clearly inspired by Greek models of Aphrodite however other details reflect a non-Greek ideal of beauty . The figure is plump, wears bangles, has wings and bears an Indian dot on her forehead suggesting influences that may be Indian, Iranian or Bactrian.
A collapsible nomadic crown, (Tillya tepe), 100 BC - 100 AD
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Collapsible nomad crown, Tillya Tepe
This nomad crown was worn by the most richly decorated princess in the tombs. Cut out of gold sheet, it consists of a diadem decorated by five elements in the form of trees, perhaps representing the tree of life. Its collapsible design would have made it easy to store and transport in the nomadic lifestyle. This type of crown has many parallels among the nomads but comparable objects don’t seem to have existed in ancient Greek or other local cultures.
An elaborate robe decoration in the form of a necklace, (Tillya Tepe), 100 BC - 100 AD
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
Ornament for the neck of a robe, Tillya Tepe
Ornaments of this type were typically sewn to the wearer’s gown and this example was found in Tomb V at Tillya Tepe. The design is typical of others found at Tillya Tepe and in Pakistan. Made from gold, turquoise, garnet and pyrites , this piece is very sophisticated in its design and artistry.
One of a pair of clasps showing Dionysus and Ariadne, (Tillya Tepe), 100 BC – 100 AD
National Museum of Afghanistan
Photo © Thierry Ollivier / Musée Guimet
A clasp showing Dionysus and Ariadne, Tillya Tepe
This is one of a matching pair of clasps — one has a loop and the other a hook. The Greeks would have recognised this figure as Silenus, said to be the foster-father of Dionysius who made prophecies when he was drunk. Here, he is depicted with Asian features. His companion Ariadne wears a decoration around her neck like the ones found on the women in the tombs. Nike stands behind her. The picture is Greek in inspiration but also reflects the nomadic tradition of depicting a man and a woman in a close embrace. Women played an important and prominent role in the nomadic world.