Patryk Skupniewicz
Biographic Data
| ID | 5650575 |
|---|---|
| NAME | Patryk Skupniewicz |
| GIVEN NAMES | Patryk |
| FAMILY NAME | Skupniewicz |
| SIGNATURE | SKUPNIEWICZ P |
| AFFILIATIONS | University of Siedlce |
| ORCID | 0000-0002-8119-5449 |
| VERIFIED | Yes |
| TOTAL WORKS | 20 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 20 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Jeffrey Kotyk, Sino-Iranian and Sino-Arabian Relations in Late Antiquity. China and the Parthians, Sasanians, and Arabs in the First Millennium. Leiden
Book Review
Relief with Caracalla and Julia Domna from National Museum in Warsaw – a Proposal of the Interpretation
The article proposes a new interpretation of the relief with depictions of Caracalla and Julia Domna from the National Museum in Warsaw. The scene finds references in earlier Roman iconography, and therefore refers to a recognizable system of communication, although as a result of certain stylistic treatments, differences in its functioning may be suspected. The pieces of weaponry gathered on the tropajon refer to the Dacians, which allows hypoth…
Studies on Zoroastrian Iconographies from Pre-Islamic Persia and Central Asia, by Matteo Compareti
A reverse of a unique coin of Shapur I in the context of the Sasanian-Roman peace treaty of 244
The Sasanian king Shapur I held a series of victorious campaigns against the Roman Empire. They were described in an inscription at Ka’be-ye Zardosht in Naqsh-e Rostam, and their visual display are the victory reliefs made on his order in Western Iran. The interludium of the wars was the peace treaty of 244 concluded by the Shahanshah Shapur I and the emperor Philip the Arab. The article aims in re-analysing of the reverse of a unique gold double…
A denarius of Julia Maesa with reverse legend VENVS VICTRIX from the collection of the British Museum
The article discusses unique iconography of the denarius of Julia Maesa from the British Museum [inv. 1992,0509.184]. The inscription of the reverse states Venus Victrix however the set of attributes does not match the conventional images of the goddess. This iconographic bricolage of various goddesses can be interpreted in terms of dynastic cult of the empresses of the Severan dynasty but also, as message addressed to Syrian army and population …
On the Sasanian horse-shaped rhyta. A type of Sasanian wine vessel in historical perspective
Among the vessel types employed in Sasanian toreutics the horse-shaped rhyta attract attention. They combine the functionality with figural shape. The article aims in setting them within the development of the Iranian drinking vessels with figural elements, and placing them within art-historical sequences. This proves that they match Sasanian decorum and that the fashion continued after the fall of the dynasty
The Battle of Satala
Mirosław Michalak, Konteksty kulturowe średniowiecznego eposu irańskiego Garšāspnāme i ich źródła. Warszawa
Book Review
Early Iranian Riders and Cavarly
The expansion of the Iranian peoples in first centuries of the 1st millennium BCE coincides with the creation and further development of the cavalry warfare in western Eurasia, as well as with the creation of the pastoral nomadic life-style which dominated the Great Steppe for millennia to come. The mounted warriors replaced the light chariots which dominated the Bronze Age battlefields which required perfect horsemanship however application of t…
Archers from Rag-i Bibi. Notes on the equipment depicted on Rag-i Bibi relief (Northern Afghanistan)
The rock relief discovered in Rag-e Bibi in Northern Afghanistan in 2002 remains an archaeological sensation. The archery equipment depicted there has not yet been studied. The article describes the bow cases combined with quivers and associates them with the same type of kit popular in Eurasia related with spread of the recurved bows with stiff bone or horn extensions of Xiong Nu/Hunnictype. This type of bows replaced shorter 'Scythian' type of …
An Overview of Military Confrontations between of the Assyrian Army against the Medes in the 7th centuries BCE
The article discusses the military confrontation between Neo-Assyrian kingdom and the Median polities in the 7th century BCE. At the beginning the outline of the history of wars between the Medes and Assyria from the 9th century onwards is presented which is followed by the brief description of the Assyrian forces of the era and detailed examination of the events until the fall of the Neo-Assyrian empire. In conclusions an attempt to reconstruct …
The bow as an insignia of power in the art of ancient Iran
This article presents the iconographic concept of the bow as an insignia in ancient Iran of the imperial era. The primary source of the bow’s association with the depiction of royal power is Mesopotamian iconography, where the bow is shown in the hands of kings without any connection to the act of shooting itself. The model of depicting a ruler with a bow resting on his foot, developed in the Neo-Assyrian period, was entirely adopted by imperial …
Is cross always Christian? A study on iconography of Sasanian seals
The article analyses the semiotics of religious symbols appearing on selected Sasanian seals. The core of the research are the seals on which a cross and a scorpion are depicted together. The authors tackle the two research hypotheses concerning the interpretation of the iconography of these seals. The first (by Rika Gyselen) is the identification of the seals as Christian seals. The second (by Abolala Soudavar) attributes the seals to Mithraism.…
Preliminary report of Māhūr tomb, a Mithraism relic at Dezfūl, Southern Iran
Tomb of Māhūr is located at a village called Mahur Berenji, district of Sardasht a part of Dezfūl, Khuzestan province, Southern Iran. This tomb has been discovered by Karamian and Astraki in 2018. There is a four-legged cross symbol in the above part of the tomb entrance
‘Sasanian’ silver plate from al-Ṣabāḥ Collection in light of aesthetic features of Sasanian toreutics
Recently published silver plate from al-Sabah Collection, of unknown provenance, has been firmly attributed as Sasanian. In fact, technically, it is related to the Sasanian silverwork however aesthetic examination allows to raise the doubts whether it is genuine. The plate must be compared not only with central-Sasanian artworks but all ancient ‘Oriental silver’, including pieces attributed as Hephtalite or Sogdian. The design of the plate does n…
Gordāfarid, Penthesilea and Athena
The description of the duel between Gordāfarid and Sohrāb in Ferdowsī’s Šāh-nāma carries structural resemblances to the depiction of Penthesilea’s fight with Achilles. In the course of combat, the armour of both female warriors is damaged and their true identities are revealed after being defeated by their male opponents. In case of the Amazon from the Greek tale, the sudden revelation of her womanly appeal takes place after her death, whereas Go…
Persian Riders in the Aethiopica of Heliodorus. A reliable source
The description of the Persian Riders in Aethiopica of Heliodorus is often regarded a reliable source to reconstruct the tactics and armament of Iranian heavy cavalry of the Sasanian period, sometimes even spread to its Roman equivalents. The conventional nature of entire text is somehow disregarded in this particular point which is not less conventional than all other depictions of the novel. The description uses fixed phrases designed to flatte…
The bullae of the spahbedan. Some iconographic remarks
The seals of Sasanian highest military officials, the spahbedan which contain depiction of armoured rider create consistent iconographic group. It is possible however to distinguish five sub-groups within it, which in turn might serve as supplementary argument for their chronology or might suggest differentiation of the role of the office in time. The iconography of the spahbedan is related to 3-5th century, Roman models of imperial adventus whic…
The Himyarite “knight” and Partho-Sasanian art
The Himyarite slab from Zafar contains several distinctive features shared with some Parthian and Sasanian art pieces, but its relation with Naqš-e Rostam friezes proposed by Yule and Robin does not seem convincing. 1. It shows a rider clad in long scale armor analogically to a terracotta tile from the British Mus eum (fig.9); 2. There is an infantry attendant with an axe depicted over the mount’s rump similarly to the Tang-e Sarvak frieze, where…
Sasanian horse armor
The goal of the paper is to define general types and the evolution of horse armor employed by elite warriors of Sasanian Iran, basing on literary sources and iconographical evidence with minor reference to archaeological finds in wider Eurasian perspective. The horse armor was an important part of cavalry equipment already in the chariot warfare however its re-emergence in mounted combat occurred when heavy cavalry was developed. The article divi…
Gordāfarid, Penthesilea and Athena
The description of the duel between Gordāfarid and Sohrāb in Ferdowsī’s Šāh-nāma carries structural resemblances to the depiction of Penthesilea’s fight with Achilles. In the course of combat, the armour of both female warriors is damaged and their true identities are revealed after being defeated by their male opponents. In case of the Amazon from the Greek tale, the sudden revelation of her womanly appeal takes place after her death, whereas Go…
The Himyarite “knight” and Partho-Sasanian art
The Himyarite slab from Zafar contains several distinctive features shared with some Parthian and Sasanian art pieces, but its relation with Naqš-e Rostam friezes proposed by Yule and Robin does not seem convincing. 1. It shows a rider clad in long scale armor analogically to a terracotta tile from the British Mus eum (fig.9); 2. There is an infantry attendant with an axe depicted over the mount’s rump similarly to the Tang-e Sarvak frieze, where…
The bow as an insignia of power in the art of ancient Iran
This article presents the iconographic concept of the bow as an insignia in ancient Iran of the imperial era. The primary source of the bow’s association with the depiction of royal power is Mesopotamian iconography, where the bow is shown in the hands of kings without any connection to the act of shooting itself. The model of depicting a ruler with a bow resting on his foot, developed in the Neo-Assyrian period, was entirely adopted by imperial …
Persian Riders in the Aethiopica of Heliodorus. A reliable source
The description of the Persian Riders in Aethiopica of Heliodorus is often regarded a reliable source to reconstruct the tactics and armament of Iranian heavy cavalry of the Sasanian period, sometimes even spread to its Roman equivalents. The conventional nature of entire text is somehow disregarded in this particular point which is not less conventional than all other depictions of the novel. The description uses fixed phrases designed to flatte…
Sasanian horse armor
The goal of the paper is to define general types and the evolution of horse armor employed by elite warriors of Sasanian Iran, basing on literary sources and iconographical evidence with minor reference to archaeological finds in wider Eurasian perspective. The horse armor was an important part of cavalry equipment already in the chariot warfare however its re-emergence in mounted combat occurred when heavy cavalry was developed. The article divi…
The Himyarite “knight” and Partho-Sasanian art
The Himyarite slab from Zafar contains several distinctive features shared with some Parthian and Sasanian art pieces, but its relation with Naqš-e Rostam friezes proposed by Yule and Robin does not seem convincing. 1. It shows a rider clad in long scale armor analogically to a terracotta tile from the British Mus eum (fig.9); 2. There is an infantry attendant with an axe depicted over the mount’s rump similarly to the Tang-e Sarvak frieze, where…
The bullae of the spahbedan. Some iconographic remarks
The seals of Sasanian highest military officials, the spahbedan which contain depiction of armoured rider create consistent iconographic group. It is possible however to distinguish five sub-groups within it, which in turn might serve as supplementary argument for their chronology or might suggest differentiation of the role of the office in time. The iconography of the spahbedan is related to 3-5th century, Roman models of imperial adventus whic…
Persian Riders in the Aethiopica of Heliodorus. A reliable source
The description of the Persian Riders in Aethiopica of Heliodorus is often regarded a reliable source to reconstruct the tactics and armament of Iranian heavy cavalry of the Sasanian period, sometimes even spread to its Roman equivalents. The conventional nature of entire text is somehow disregarded in this particular point which is not less conventional than all other depictions of the novel. The description uses fixed phrases designed to flatte…
‘Sasanian’ silver plate from al-Ṣabāḥ Collection in light of aesthetic features of Sasanian toreutics
Recently published silver plate from al-Sabah Collection, of unknown provenance, has been firmly attributed as Sasanian. In fact, technically, it is related to the Sasanian silverwork however aesthetic examination allows to raise the doubts whether it is genuine. The plate must be compared not only with central-Sasanian artworks but all ancient ‘Oriental silver’, including pieces attributed as Hephtalite or Sogdian. The design of the plate does n…
Gordāfarid, Penthesilea and Athena
The description of the duel between Gordāfarid and Sohrāb in Ferdowsī’s Šāh-nāma carries structural resemblances to the depiction of Penthesilea’s fight with Achilles. In the course of combat, the armour of both female warriors is damaged and their true identities are revealed after being defeated by their male opponents. In case of the Amazon from the Greek tale, the sudden revelation of her womanly appeal takes place after her death, whereas Go…
Preliminary report of Māhūr tomb, a Mithraism relic at Dezfūl, Southern Iran
Tomb of Māhūr is located at a village called Mahur Berenji, district of Sardasht a part of Dezfūl, Khuzestan province, Southern Iran. This tomb has been discovered by Karamian and Astraki in 2018. There is a four-legged cross symbol in the above part of the tomb entrance
The bow as an insignia of power in the art of ancient Iran
This article presents the iconographic concept of the bow as an insignia in ancient Iran of the imperial era. The primary source of the bow’s association with the depiction of royal power is Mesopotamian iconography, where the bow is shown in the hands of kings without any connection to the act of shooting itself. The model of depicting a ruler with a bow resting on his foot, developed in the Neo-Assyrian period, was entirely adopted by imperial …
Is cross always Christian? A study on iconography of Sasanian seals
The article analyses the semiotics of religious symbols appearing on selected Sasanian seals. The core of the research are the seals on which a cross and a scorpion are depicted together. The authors tackle the two research hypotheses concerning the interpretation of the iconography of these seals. The first (by Rika Gyselen) is the identification of the seals as Christian seals. The second (by Abolala Soudavar) attributes the seals to Mithraism.…
Archers from Rag-i Bibi. Notes on the equipment depicted on Rag-i Bibi relief (Northern Afghanistan)
The rock relief discovered in Rag-e Bibi in Northern Afghanistan in 2002 remains an archaeological sensation. The archery equipment depicted there has not yet been studied. The article describes the bow cases combined with quivers and associates them with the same type of kit popular in Eurasia related with spread of the recurved bows with stiff bone or horn extensions of Xiong Nu/Hunnictype. This type of bows replaced shorter 'Scythian' type of …
An Overview of Military Confrontations between of the Assyrian Army against the Medes in the 7th centuries BCE
The article discusses the military confrontation between Neo-Assyrian kingdom and the Median polities in the 7th century BCE. At the beginning the outline of the history of wars between the Medes and Assyria from the 9th century onwards is presented which is followed by the brief description of the Assyrian forces of the era and detailed examination of the events until the fall of the Neo-Assyrian empire. In conclusions an attempt to reconstruct …
Mirosław Michalak, Konteksty kulturowe średniowiecznego eposu irańskiego Garšāspnāme i ich źródła. Warszawa
Book Review
Early Iranian Riders and Cavarly
The expansion of the Iranian peoples in first centuries of the 1st millennium BCE coincides with the creation and further development of the cavalry warfare in western Eurasia, as well as with the creation of the pastoral nomadic life-style which dominated the Great Steppe for millennia to come. The mounted warriors replaced the light chariots which dominated the Bronze Age battlefields which required perfect horsemanship however application of t…
A denarius of Julia Maesa with reverse legend VENVS VICTRIX from the collection of the British Museum
The article discusses unique iconography of the denarius of Julia Maesa from the British Museum [inv. 1992,0509.184]. The inscription of the reverse states Venus Victrix however the set of attributes does not match the conventional images of the goddess. This iconographic bricolage of various goddesses can be interpreted in terms of dynastic cult of the empresses of the Severan dynasty but also, as message addressed to Syrian army and population …
On the Sasanian horse-shaped rhyta. A type of Sasanian wine vessel in historical perspective
Among the vessel types employed in Sasanian toreutics the horse-shaped rhyta attract attention. They combine the functionality with figural shape. The article aims in setting them within the development of the Iranian drinking vessels with figural elements, and placing them within art-historical sequences. This proves that they match Sasanian decorum and that the fashion continued after the fall of the dynasty
The Battle of Satala
Jeffrey Kotyk, Sino-Iranian and Sino-Arabian Relations in Late Antiquity. China and the Parthians, Sasanians, and Arabs in the First Millennium. Leiden
Book Review
Relief with Caracalla and Julia Domna from National Museum in Warsaw – a Proposal of the Interpretation
The article proposes a new interpretation of the relief with depictions of Caracalla and Julia Domna from the National Museum in Warsaw. The scene finds references in earlier Roman iconography, and therefore refers to a recognizable system of communication, although as a result of certain stylistic treatments, differences in its functioning may be suspected. The pieces of weaponry gathered on the tropajon refer to the Dacians, which allows hypoth…
Studies on Zoroastrian Iconographies from Pre-Islamic Persia and Central Asia, by Matteo Compareti
A reverse of a unique coin of Shapur I in the context of the Sasanian-Roman peace treaty of 244
The Sasanian king Shapur I held a series of victorious campaigns against the Roman Empire. They were described in an inscription at Ka’be-ye Zardosht in Naqsh-e Rostam, and their visual display are the victory reliefs made on his order in Western Iran. The interludium of the wars was the peace treaty of 244 concluded by the Shahanshah Shapur I and the emperor Philip the Arab. The article aims in re-analysing of the reverse of a unique gold double…
Eurasian Exchange Networks (17 works) · History (16 works) · Ancient history (14 works) · Art (12 works) · Literature (9 works) · Ancient Near East History (8 works) · Byzantine Studies and History (7 works) · Historical, Religious, and Philosophical Studies (6 works) · History (6 works) · Archaeology (5 works)