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 grey-stone marble ‘column’ has a wonderfully smooth
finish. The ancient craftsman may well have chosen this block
of stone for its attractive white veining which enlivens the
surface. The cylindrical form gets progressively narrower
towards the upper part and then flares out at the top. A
shallow channel runs across both ends, dividing them into two
halves.