Tombs at Xanthos

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The tomb of Payava, a Lykian aristocrat, about 375-360 BC, from Xanthos, British Museum (9504934234).jpg
The tomb of Payava, a Lykian aristocrat, about 375–360 BCE, from Xanthos, British Museum.
Sarcophagus of Payava from Xanthos from the Entretiens sur l'Architecture, Atlas by Viollet-le-Duc 1863.jpg
Reconstruction drawing of the tomb by Viollet-le-Duc, with complete base.

Xanthos, also called Xanthus, was a chief city state of the Lycians, an indigenous people of southwestern Anatolia (present-day Turkey). [1] Many of the tombs at Xanthos are pillar tombs, formed of a stone burial chamber on top of a large stone pillar. The body would be placed in the top of the stone structure, elevating it above the landscape. The tombs are for men who ruled in a Lycian dynasty from the mid-6th century to the mid-4th century BCE and help to show the continuity of their power in the region. [2] Not only do the tombs serve as a form of monumentalization to preserve the memory of the rulers, but they also reveal the adoption of Greek style of decoration.

Contents

Xanthos was chief city state governed by a king, who was under an Achaemenid Empire governor. The continuity of the dynastic rule in Xanthos was shown through a tradition of building pillar tombs. [1] When these tombs were made, predominant Late Classical Greek ideas of art pervaded Lycian imagery. [1] The tombs moved away from the local tradition and started to display the facades of pillared Greek Temples following the resurgence of Greek influence in the erea, from the 2nd quarter of the 4th century BCE (375–350 BCE). [3]

Several tombs were excavated by Sir Charles Fellows, an Englishman who excavated in the Levant and Asia Minor, [4] and were transported to the British Museum in 1848 CE. [5]

Monumental pillar tombs

Lion Pillar

Lycian tombs in Xanthos. Lycian tombs Xanthos IMGP8884.jpg
Lycian tombs in Xanthos.

The Lion Pillar, named because of the large lion in high relief, was located east of the Acropolis of Xanthos and stands around 3 metres (9.8 ft) high. The stone chest is of white limestone, carved to fit the body. It has been postulated that this tomb was created between the early- and mid-6th century BCE. Contrast is created between the high relief sculpture on the ends and the low relief sculpture in the centre of the chest. [5] The details of the friezes indicate that the craftsmen were Greek, as revealed by the depictions of the human form on the West side of the chest. A lion is held by a man, whose body simply delineated: nude and with few defining curves. His archaic smile and hair falling in locks are indications of a strong Archaic Greek style. [5] [6]

On the south side of the front of the chest is the figure of a recumbent lion, carved in high relief. The lion is facing left, its body contained within the end of the block. The small head of a bull, who has been pinned by the lion, rests between its paws. Below the bull was a tablet, the inscription on which has faded. The north side of the monument features more imagery of lions, in a position of caring for young, as a lion interacts with her cubs. The carving technique used in this relief is similar to the one used on the south side of the frieze, with the details and outline of the form delineated by use of line. The lion on the east side is thinner looking. [5]

On the east side of the monument, the composition is broken up into registers, the lower half remaining undecorated and the upper half most likely containing a low relief frieze. However, the complete length of the top frieze is unknown because part of it has broken off, limiting the information that can be gained from the images. On the left part of the east side of the monument, militaristic scenes in low relief depict soldiers with a shield, a Corinthian helmet, and a weapon. On the right side of the frieze is a horseman, dressed in a short cloak and a helmet, accompanied by an attendant wearing a chiton, a Greek-style tunic, and carrying a spear. [5]

The unique iconography used in the monument has received much scholarly attention. It was meant to express legitimacy of the tomb's owner as well as his association to the Achaemenids. The Archaic pillar tomb itself, which is the oldest example of an architectural style unique to Lycia, alludes to his Lycian origin. Seyer concludes that the owner was probably a Lycian inaugurated as the first local ruler under the Achaemenids. [7]

Harpy Tomb

Xanthos sarcophagus (cropped).jpg
The Harpy Tomb
The Harpy Tomb reliefs, about 480 BC, Xanthos, British Museum, London (8825525382).jpg
Reconstructed reliefs at the British Museum

The Harpy Tomb, which is located on the Acropolis, was likely made in c. 480–470 BCE. The decorations are made in the Greek Archaic Style.

The interpretation of the iconography of the tomb have developed over time. Initially, it was believed that the winged females on the frieze referenced a myth about violence done to the Lycian royal family. Then, it was postulated that because the tomb was fabricated by Greek artisans and workmen, the imagery referenced a scene of the underworld, using iconography to underscore the funerary use of the structure. Tombs on mainland Greece produced at this time did not include the figures of gods, as are depicted, so a third theory was developed. The third theory is that the multiple generations of figures depicted around the image are an indication of hero worship centred around the individuals buried within the tomb. [8]

Inscribed Pillar

The Xanthian Obelisk The Xanthos Obelisk, a trilingual inscribed pillar in the Lycian language with Greek inscriptions, Xanthos, Lycia, Turkey (8814432977).jpg
The Xanthian Obelisk

The Inscribed Pillar of Xanthos, also known as the Xanthian Obelisk, was made c. 400 BCE. [9] Like the other pillar tombs at Xanthos, the inscribed pillar supported a raised daise with a chamber tomb, decorated on the outside with friezes. A statue of the occupant, a Xanthian king, was positioned on top. [10] The friezes depicted scenes from the life of the king, including hunting and battle scenes. [10] Seismic activity in antiquity likely caused the chamber tomb of fall off. [11]

Scholars have speculated on the creators of the inscriptions, which are written in Greek and two different types of Lycian. [10] The Greek inscription is a dedication of the monument, likely to 12 Greek gods, and is the oldest Greek inscription known in Lycia. [10] The inscriptions in Lycian B has not yet been fully deciphered, but the inscriptions in Lycian A, the last to be inscribed on the pillar, has been translated. [10] The creator of the Inscribed Pillar is unknown, because several of the letters forming the individual's name in the Lycian inscription are missing. [9]

Other monuments

Nereid Monument

Illustrerad Verldshistoria band I Ill 102.jpg
The original Nereid Monument
Reconstruction Nereid Monument BM.jpg
Reconstruction of the Nereid Monument at the British Museum

The Greek Nereid Monument is a tomb named for the three women between the columns on the front. It was built in the Ionic order and its form resembles an Ionic temple. [12] Built c. 380 BCE, [13] the funerary architecture parallels the religious architecture that developed in late Classical Greece. The monument directly influenced regional architecture, including the Mausoleum at Halicarnassus, one of the Seven Wonders of the Ancient World. [14]

The building and the podium it rested on are covered in relief sculpture. The women depicted have been identified either as Nereids, as they might have appeared to the Greeks, or as water nymphs that were part of a local Lycian cult. The “hybrid iconography” present in the monument allows for multiple interpretations. [12] The expression of power is a pervasive theme in the monument, despite it being a tomb. The grand size and position within a dynastic tradition of pillar tombs helps to express the sources of power of the ruler, King Erbinna of the Xanthian Dynasty, who was entombed inside. The monument has numerous references to his power, as the friezes depict both court and battle scenes. On the podium, the iconography is mixed, utilizing Greek iconography on the bottom two friezes and the 8th to 7th century BCE. Assyrian iconography of power on the top two reliefs. [12] Each set of friezes, in the podium, architrave, and interior, each show scenes of political life and recreation, as well as civic and religious duties. [13]

Additional tombs

Other tombs were present at Xanthos. They include the "Pillar of the Wrestlers", the "Theatre Pillar", the "Acropolis Pillar", and the "Tomb of Payava".

Stylistic influences

The Xanthos sarcophagus Xanthos sarcophagus detail.jpg
The Xanthos sarcophagus

The tombs at Xanthos derived their form and decoration from many different sources. [6] The form of the pillar tomb was a distinctively Lycian architectural type, [6] but Lycian, Greek, and Persian styles and iconographies are evident in the relief sculpture. [6] The Lycians predominantly used Late Classical Greek themes in their relief sculpture. [1]

The tombs attest to the Greek influence in Anatolia during the Late Classical period, which involved the use of the so-called "East Greek" style. [6] Examples include the reliefs sculpture on the Nereid Monument and depictions of hunters and lions in the Greek Archaic style on the Lion Tomb. [6] The Archaic style manifested itself in grid like, proportional but static depictions of forms. [15]

Phoenicia

The shape of the Lycian ogival tomb was adopted for the "Lycian" sarcophagus of Sidon, a tomb for a king of Phoenicia (modern Lebanon), built by Ionian artists circa 430–420 BCE. [16] [17] [18]

Indian architectural parallels

Tomb of Payava and Lomas Rishi cave entrance.jpg
Tomb of Payava (375–360 BCE) and Lomas Rishi cave entrance (c. 250 BCE).
Ajanta Cave 9.jpg
Ajanta Cave 9 (1st century BCE)

The similarity of the tomb of Payava and other Lycian barrel-vaulted tombs with the Indian Chaitya architectural design (starting from c. 250 BCE with the Lomas Rishi caves in the Barabar caves group) has been remarked on. James Fergusson has commented that "in India, the form and construction of the older Buddhist temples resemble so singularly these examples in Lycia". [19]

The Lycian tombs, which were built in the 4th century BCE, are free-standing or rock-cut barrel-vaulted sarcophagi placed on a high base, with architectural features carved in stone to imitate wooden structures. Both Greek and Persian influence can be seen in the reliefs sculpted on the sarcophagi. [20] Similarities with the Chaitya-type Indian Buddhist temple designs, such as the "same pointed form of roof, with a ridge", are further developed in Indian cave temples. [21] Fergusson suggested some form of cultural transfer across the Achaemenid Empire. [22] The known Indian designs for the Chaityas start from c. 250 BCE and postdate the Xanthos tombs by at least a century. [23]

The art historian David Napier has proposed a reverse relationship, claiming that the Payava tomb was a descendant of an ancient South Asian style, and that Payava may actually have been a Graeco-Indian named Pallava. [24]

Related Research Articles

<span class="mw-page-title-main">Lycia</span> Ancient geopolitical region of Anatolia (Turkey)

Lycia was a state or nationality that flourished in Anatolia from 15–14th centuries BC to 546 BC. It bordered the Mediterranean Sea in what is today the provinces of Antalya and Muğla in Turkey as well some inland parts of Burdur Province. The state was known to history from the Late Bronze Age records of ancient Egypt and the Hittite Empire. Lycia was populated by speakers of the Luwian language group. Written records began to be inscribed in stone in the Lycian language after Lycia's involuntary incorporation into the Achaemenid Empire in the Iron Age. At that time (546 BC) the Luwian speakers were displaced as Lycia received an influx of Persian speakers. Ancient sources seem to indicate that an older name of the region was Alope.

<span class="mw-page-title-main">Mausoleum at Halicarnassus</span> One of the seven wonders of the ancient world

The Mausoleum at Halicarnassus or Tomb of Mausolus was a tomb built between 353 and 350 BC in Halicarnassus for Mausolus, an Anatolian from Caria and a satrap in the Achaemenid Empire, and his sister-wife Artemisia II of Caria. The structure was designed by the Greek architects Satyros and Pythius of Priene. Its elevated tomb structure is derived from the tombs of neighbouring Lycia, a territory Mausolus had invaded and annexed c. 360 BC, such as the Nereid Monument.

<span class="mw-page-title-main">Xanthos</span> Ancient ruined Lycian city, part of a UNESCO World Heritage Site in Turkey

Xanthos was an ancient city near the present-day village of Kınık, in Antalya Province, Turkey. The ruins are located on a hill on the left bank of the River Xanthos. The number and quality of the surviving tombs at Xanthos are a notable feature of the site, which, together with nearby Letoon, was declared to be a UNESCO World Heritage Site in 1988.

<span class="mw-page-title-main">Charles Fellows</span> British archaeologist (1799–1860)

Sir Charles Fellows was a British archaeologist and explorer, known for his numerous expeditions in what is present-day Turkey.

<span class="mw-page-title-main">Chaitya</span>

A chaitya, chaitya hall, chaitya-griha, refers to a shrine, sanctuary, temple or prayer hall in Indian religions. The term is most common in Buddhism, where it refers to a space with a stupa and a rounded apse at the end opposite the entrance, and a high roof with a rounded profile. Strictly speaking, the chaitya is the stupa itself, and the Indian buildings are chaitya halls, but this distinction is often not observed. Outside India, the term is used by Buddhists for local styles of small stupa-like monuments in Nepal, Cambodia, Indonesia and elsewhere. In Thailand a stupa, not a stupa hall, is called a chedi. In the historical texts of Jainism and Hinduism, including those relating to architecture, chaitya refers to a temple, sanctuary or any sacred monument.

<span class="mw-page-title-main">Letoon</span> Lycian sanctuary settlement on the Mediterranean coast of Turkey

Letoon, sometimes Latinized as Letoum, in the Fethiye district of Muğla Province, Turkey, was a sanctuary of Leto located 4 kilometres (2.5 mi) south of the ancient city of Xanthos, to which it was closely associated, and along the Xanthos River. It was one of the most important religious centres in the region though never a fully-occupied settlement.

<span class="mw-page-title-main">Nasik Caves</span> Ancient Buddhist caves in India

The Nasik Caves, or Trirashmi Leni, are a group of 23 caves carved between the 1st century BCE and the 3rd century CE, though additional sculptures were added up to about the 6th century, reflecting changes in Jainism devotional practices. The Jain sculptures are a significant group of early examples of Indian rock-cut architecture initially representing the Jainism tradition.

<span class="mw-page-title-main">Nereid Monument</span>

The Nereid Monument is a sculptured tomb from Xanthos in Lycia, close to present-day Fethiye in Mugla Province, Turkey. It took the form of a Greek temple on top of a base decorated with sculpted friezes, and is thought to have been built in the early fourth century BC as a tomb for Arbinas, the Xanthian dynast who ruled western Lycia under the Achaemenid Empire.

<span class="mw-page-title-main">Tomb of Payava</span> Lycian sarcophagus in the British Museum

The Tomb of Payava is a Lycian tall rectangular free-standing barrel-vaulted stone sarcophagus, and one of the most famous tombs of Xanthos. It was built in the Achaemenid Persian Empire, for Payava, who was probably the ruler of Xanthos, Lycia at the time, in around 360 BC. The tomb was discovered in 1838 and brought to England in 1844 by the explorer Sir Charles Fellows. He described it as a 'Gothic-formed Horse Tomb'. According to Melanie Michailidis, though bearing a "Greek appearance", the Tomb of Payava, the Harpy Tomb and the Nereid Monument were built according to the main Zoroastrian criteria "by being composed of thick stone, raised on plinths off the ground, and having single windowless chambers".

<span class="mw-page-title-main">Harpy Tomb</span> Tomb in Turkey

The Harpy Tomb is a marble chamber from a pillar tomb that stands in the abandoned city of Xanthos, capital of ancient Lycia, a region of southwestern Anatolia in what is now Turkey. Built in the Persian Achaemenid Empire, and dating to approximately 480–470 BC, the chamber topped a tall pillar and was decorated with marble panels carved in bas-relief. The tomb was built for an Iranian prince or governor of Xanthus, perhaps Kybernis.

<span class="mw-page-title-main">Xanthian Obelisk</span> Stele bearing a trilingual inscription on the acropolis of the Lycian city of Xanthos

The Xanthian Obelisk, also known as the Xanthos or Xanthus Stele, the Xanthos or Xanthus Bilingual, the Inscribed Pillar of Xanthos or Xanthus, the Harpagus Stele, the Pillar of Kherei and the Columna Xanthiaca, is a stele bearing an inscription currently believed to be trilingual, found on the acropolis of the ancient Lycian city of Xanthos, or Xanthus, near the modern town of Kınık in southern Turkey. It was created when Lycia was part of the Persian Achaemenid Empire, and dates in all likelihood to ca. 400 BC. The pillar is seemingly a funerary marker of a dynastic satrap of Achaemenid Lycia. The dynast in question is mentioned on the stele, but his name had been mostly defaced in the several places where he is mentioned: he could be Kherei (Xerei) or more probably his predecessor Kheriga.

<span class="mw-page-title-main">Achaemenid conquest of the Indus Valley</span> Persian military conquest that took place from the 6th to 4th centuries BCE

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<span class="mw-page-title-main">Hellenistic influence on Indian art</span>

Hellenistic influence on Indian art and architecture reflects the artistic and architectural influence of the Greeks on Indian art following the conquests of Alexander the Great, from the end of the 4th century BCE to the first centuries of the common era. The Greeks in effect maintained a political presence at the doorstep, and sometimes within India, down to the 1st century CE with the Greco-Bactrian Kingdom and the Indo-Greek Kingdoms, with many noticeable influences on the arts of the Maurya Empire especially. Hellenistic influence on Indian art was also felt for several more centuries during the period of Greco-Buddhist art.

<span class="mw-page-title-main">Death in ancient Greek art</span>

The theme of death within ancient Greek art has continued from the Early Bronze Age all the way through to the Hellenistic period. The Greeks used architecture, pottery, and funerary objects as different mediums through which to portray death. These depictions include mythical deaths, deaths of historical figures, and commemorations of those who died in war. This page includes various examples of the different types of mediums in which death is presented in Greek art.

<span class="mw-page-title-main">Lycian sarcophagus of Sidon</span>

The Lycian sarcophagus of Sidon is a sarcophagus discovered in the Ayaa necropolis, in Sidon, Lebanon. It is made of Parian marble, and resembles the shapes of ogival Lycian tombs, hence its name. It is now located in the Istanbul Archaeological Museum. It is dated to circa 430-420 BC. This sarcophagus, as well as others in the Sidon necropolis, belonged to a succession of kings who ruled in the area of Phoenicia between the mid-5th century BC to the end of the 4th century BC.

<span class="mw-page-title-main">Arbinas</span>

Arbinas, also Erbinas, Erbbina, was a Lycian Dynast who ruled circa 430/20-400 BCE. He is most famous for his tomb, the Nereid Monument, now on display in the British Museum. Coinage seems to indicate that he ruled in the western part of Lycia, around Telmessos, while his tomb was established in Xanthos. He was a subject of the Achaemenid Empire.

<span class="mw-page-title-main">Kybernis</span> Ruler of Lycia from 520 BC to 480 BC

Kybernis or Kubernis, also abbreviated KUB on his coins in Lycian, called Cyberniscus son of Sicas by Herodotus, was a dynast of Lycia, at the beginning of the time it was under the domination of the Achaemenid Empire. He is best known through his tomb, the Harpy Tomb, the decorative remains of which are now in the British Museum. According to Melanie Michailidis, though bearing a "Greek appearance", the Harpy Tomb, the Nereid Monument and the Tomb of Payava were built according main Zoroastrian criteria "by being composed of thick stone, raised on plinths off the ground, and having single windowless chambers".

<span class="mw-page-title-main">Pericles, Dynast of Lycia</span> King of ancient Lycia

Perikles, was the last known independent dynast of Lycia. A dynast of Limyra in eastern Lycia c. 375–362 BCE, he eventually ruled the entire country during the Revolt of the Satraps, in defiance of the Achaemenid Empire.

<span class="mw-page-title-main">Kheriga</span> Dynast of Lycia, in present-day Turkey

Kheriga was a Dynast of Lycia, who ruled circa 450-410 BCE. Kheriga is mentioned on the succession list of the Xanthian Obelisk, and is probably the owner of the sarcophagus that was standing on top of it.

<span class="mw-page-title-main">Kuprlli</span> 5th-century BC dynast of Lycia

Kuprlli was a dynast of Lycia, at a time when this part of Anatolia was subject to the Persian, or Achaemenid, Empire. Kuprlli ruled at the time of the Athenian alliance, the Delian League.

References

  1. 1 2 3 4 Neer, Richard (2012). Greek Art and Archaeology. New York, New York: Thames & Hudson. p. 341. ISBN   978-0500288771.
  2. ↑ Keen, Anthony (1992). "The Dynastic Tombs of Xanthos: Who Was Buried Where?". Anatolian Studies. 42: 53–63. doi:10.2307/3642950. JSTOR   3642950.
  3. ↑ Borza, Eugene N. (1992). In the Shadow of Olympus: The Emergence of Macedon. Princeton University Press. p. 273. ISBN   978-0691008806.
  4. ↑ "Sir Charles Fellows (Biographical Details)". The British Museum.
  5. 1 2 3 4 5 "burial-chest". The British Museum.
  6. 1 2 3 4 5 6 Metzger, Henri; Opper, Thorsten. "Xanthos". Oxford Art Online. Retrieved 3 December 2017.
  7. ↑ Seyer, Martin. "Pillar Tombs and the Achaemenid Rule in Lycia". A. Dahlén (HRSG.), Achaemenid Anatolia: Persian presence and impact in the Western satrapies 546–330 BCE. Proceedings of an International Symposium at the Swedish Research Institute in Istanbul, 7–8 September 2017, Boreas. Uppsala Studies in Ancient Mediterranean and Near Eastern Civilizations.
  8. ↑ "tomb". The British Museum. 26 October 2017.
  9. 1 2 Childs, William (1979). "The Authorship of the Inscribed Pillar of Xanthos". Anatolian Studies. 29: 97–102. doi:10.2307/3642733. JSTOR   3642733.
  10. 1 2 3 4 5 Gygax, Marc Domingo (2005). "'He Who of All Mankind Set up the Most Numerous Trophies to Zeus:' The Inscribed Pillar of Xanthos Reconsidered". Anatolian Studies. 55: 89–96. doi:10.1017/s0066154600000661. JSTOR   20065536.
  11. ↑ Fellows, Charles (1840). An account of discovery in Lycia, being a journal kept during second exclusion in Asia Minor. London: J. Murray. p. 170.
  12. 1 2 3 Neer, Richard (2012). Greek Art and Archaeology. New York: Thames & Hudson. p. 342. ISBN   978-0500288771.
  13. 1 2 "The Nereid Monument at Xanthos". Classical Art Research Centre and The Beazley Archive. 26 October 2012.
  14. ↑ "Xanthos-Leotoon". UNESCO. 25 October 2017.
  15. ↑ Neer, Richard (2012). Greek Art and Archaeology. New York: Thames & Hudson. p. 151.
  16. ↑ Rose, Charles Brian (2014). The Archaeology of Greek and Roman Troy. Cambridge University Press. p. 312. ISBN   978-0521762076.
  17. ↑ Palagia, Olga (2017). Regional Schools in Hellenistic Sculpture. Oxbow Books. p. 285. ISBN   978-1785705489.
  18. ↑ Freely, John; Glyn, Anthony (2000). The Companion Guide to Istanbul and Around the Marmara. Companion Guides. p. 71. ISBN   978-1900639316.
  19. ↑ The Illustrated Handbook of Architecture Being a Concise and Popular Account of the Different Styles of Architecture Prevailing in All Ages and All Countries by James Fergusson. J. Murray. 1859. p.  212.
  20. ↑ M. Caygill, The British Museum A–Z compani (London, The British Museum Press, 1999) E. Slatter, Xanthus: travels and discovery (London, Rubicon Press, 1994) A.H. Smith, A catalogue of sculpture in −1, vol. 2 (London, British Museum, 1900)
  21. ↑ Fergusson, James; Burgess, James (1880). The cave temples of India. London : Allen. p.  120.
  22. ↑ Fergusson, James (1849). An historical inquiry into the true principles of beauty in art, more especially with reference to architecture. London, Longmans, Brown, Green, and Longmans. pp.  316–320.
  23. ↑ Ching, Francis D. K.; Jarzombek, Mark M.; Prakash, Vikramaditya (2010). A Global History of Architecture. John Wiley & Sons. p. 164. ISBN   978-1118007396.
  24. ↑ According to David Napier, author of Masks, Transformation, and Paradox, "In the British Museum we find a Lycian building, the roof of which is clearly the descendant of an ancient South Asian style.", "For this is the so-called "Tomb of Payava" a Graeco-Indian Pallava if ever there was one." in "Masks and metaphysics in the ancient world: an anthropological view" in Malik, Subhash Chandra; Arts, Indira Gandhi National Centre for the Arts (2001). Mind, Man, and Mask. Indira Gandhi National Centre for the Arts. p. 10. ISBN   978-8173051920.
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