An exceptional Sasanian silver-gilt jar, Persia, circa 6th century

the body of bulbous form standing on a short foot, with a globular shoulder surmounted by a flaring neck leading to a broad socket-shaped rim, the shoulder and body engraved in relief with birds, a guinea fowl and a wolf, surrounded by scrolling vines issuing leaves and grapes, the base with tri-lobed panels containing various floral sprays

Reportedly found in the Caucasus region in the 1920s together with the following lot, lot 123.
European private collection since the early 1970s.

This item is in excellent condition. Loss of gilding throughout. MInor nicks to the base. As viewed.
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NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Reputedly found alongside a coin bearing the bust of Kavad I (r.488-97 and 499-531 AD), it could be suggested that the production of the present item dates to the early sixth century. If a parallel can be drawn, however, it is important to note that according to Boris Marshak and Y. Krikis, few silver plates have been assuredly attributed to the reign of Kavad I or even to that of his predecessor, Peroz. Only a handful of examples are now held at the Metropolitan Museum of Art in New York and the Hermitage in St. Petersburg. In fact, it has been proposed that during 'the period of national catastrophe covering the reign of Peroz and part of the reign of Kavad... a widespread production is to be doubted. Much more likely is the melting down of such objects to produce the needed revenue.' (Ehsan Yarshater (ed.), The Cambridge History of Iran, vol. 3(2), p.1119). Indeed, circa 500 AD, the Sasanian Empire was subject to revolution and war, caused both by internal disputes and pressure from the Byzantine Empire. Nonetheless, the survival of numerous jars with analogous composition makes it improbable that this policy extended emphatically to silver objects of this kind and the comparisons that can be drawn from these allow for a robust stylistic analysis of the current lot.

The grapes, leaves and vines on the present jar are identical to those found on an example from the 6th-7th century AD which is now at the British Museum in London (see Splendeur des Sassanides, Brussels, 1993, p.240, no.89). This imagery is considered to have been inspired by earlier Hellenistic and Roman designs, and is part of the Dionysiac iconography frequently found on Sasanian vessels of this type (ibid, p.102). In fact, some scholars have interpreted vases and ewers depicting women with animals, birds, plants and fruit as having religious connotations. Though it cannot be proven, these could possibly even be linked to the cult of Anahita—Zoroastrian goddess of fertility, healing and wisdom—whose cult saw a renewed popularity during the 6th century AD (Yarshater, op. cit., pp.1120-1).

The inclusion of animal figures on Sasanian silverware was also common. Foxes, wolves and birds, such as quail or guinea fowl, were particularly meant to reference the practice of hunting, which was mainly considered a sport reserved for the elite. It was thus deemed appropriate to decorate objects such as the present jar, which were predominantly used at banquets, with such themes (Ancient Art from the Shumei Family Collection, New York, 1996, pp.75-6). The guinea fowl depicted on the current lot is stylistically identical to one depicted on the base of an elliptical bowl from the same period now at the Shumei Culture Foundation in Otsu (see ibid, pp.76-7, no.31).

Two further comparable Sasanian jars, one depicting dancing female figures and the other with medallions enclosing birds, are also at the Shumei Culture Foundation (see ibid., pp.68-75, nos.29-30).