Barry Cunlife - The Scythians

bending the bow
The burial is remarkable for the huge range of evidence it provides that reflects
on different aspects of Scythian life. What is of particular interest to the present
discussion is that the warrior-king was closely surrounded by his most valuable
ceremonial weapons, while his set of more functional equipment, his iron-plated
corselet, spears, and spare arrows, seem to have been in the care of his armourbearer.
This is a reminder of the importance that such retainers must have had, not
only in ceremonial life but on the battlefield. Such a man would have provided support
for his master if in need, rather like the squire serving the knight in medieval
Europe.
Images of Conflict
The Greek craftsmen, working in the towns along the north Pontic coast, were sufficiently
familiar with the world of the nomad to be able to create images, usually in
fine gold work, of Scythians engaged in conflict. The veracity of the detail depicted is
confirmed by the close similarity between the weapon sets illustrated and the physical
remains found in contemporary graves. That the Scythian patrons would have
been reluctant to accept inaccurate representation of their dress, equipment, and
behaviour gives an added level of reassurance that these scenes fairly reflect life on
the steppe. Among a considerable corpus of material available, three items stand out:
the Kul’-Oba cup, and the comb and gorytos from Solokha. All three include scenes
which offer a narrative of action, albeit sometimes fleeting, which might be intended
to recall an actual event.
The Kul’-Oba cup (Gallery, no. 1), with its four separate scenes, is open to various
interpretations, the simplest being that the first pair represent preparation for battle
while the second pair show the aftermath of the conflict. The first scene depicts two
armed, but seated, figures engaged in an intense conversation, followed by the image
of a single figure, part kneeling, stringing a bow. That he already has a strung bow in
the gorytos hanging at his left side might suggest that he is doing it for someone else
or to demonstrate how it should be done. The third scene shows two kneeling men,
one exploring with his finger the inside of the mouth of the other who is evidently
in discomfort, while the final composition shows one man bandaging the leg of the
other. The general message seems to be comradeship expressed through discussion
and advice, practical aid in preparation and in diagnosis, and caring. In the first two
scenes weapons and armour are prominent. In the second pair of scenes, while the
gorytos is present, it is incidental to the main action. The possibility that the sequence
may represent the same characters presented in comic book style can be ruled out
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