This piece pertains to an ancient culture referred
to both as the Bactria-Margiana Archaeological
Complex (BCAM) or as the Oxus Civilisation. The
Bactria-Margiana culture spread across an area
encompassing the modern nations of
Turkmenistan, Tajikistan, Uzbekistan and
Northern Afghanistan. Flourishing between
about 2100 and 1700 BC, it was contemporary
with the European Bronze Age, and was
characterised by monumental architecture, social
complexity and extremely distinctive cultural
artefacts that vanish from the record a few
centuries after they first appear. Pictographs on
seals have been argued to indicate an
independently-developed writing system.
It was one of many economic and social entities
in the vicinity, and was a powerful country due to
the exceptional fertility and wealth of its
agricultural lands. This in turn gave rise to a
complex and multifaceted set of societies with
specialist craftsmen who produced luxury
materials such as this for the ruling and
aristocratic elites. Trade appears to have been
important, as Bactrian artefacts appear all over
the Persian Gulf as well as in the Iranian Plateau
and the Indus Valley. For this reason, the area
was fought over from deep prehistory until the
Mediaeval period, by the armies of Asia Minor,
Greece (Macedonia), India and the Arab States,
amongst others.
The meaning of these objects in ancient Bactria
still mystifies scholars. Many are convinced that
they must have had a ritual function and were
perhaps worshipped as idols. Others argue that
they had a more practical purpose and were used
as a counterweight for pounding grain or
pumping water. Bactria is the ancient Greek name
for an area that encompassed parts of
Uzbekistan, Turkmenistan, Tajikistan and
northern Afghanistan. It was a mountainous and
extremely fertile region that had a highly
developed civilisation in the late third and early
second millennium BC. Excavations have
uncovered other intriguing artifacts such as the
composite stone goddesses which attest to the
presence of a vibrant religious culture. Today
these marble 'pillar-like' sculptures impress us
with their simplicity of form and mysterious past.
This column idol is of slender form, convex in
the
middle, tapering to flat slightlty flared ends, with
a
mount.