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, slightly convex in
the middle, tapering to flat slightly flared ends, on a
mount.