The Ziwiye hoard is a treasure hoard containing gold, silver, and ivory objects, also including a few gold pieces with the shape of a human face, that was uncovered in a plot of land outside Ziwiyeh castle, near the city of Saqqez in Kurdistan province, Iran, in 1947.
Provenance
Objects from the hoard provide a link between the cultures of the Iranian plateau and the nomadic or Scythian art forms known as the "animal style". "The Scythian motifs adopted by Urartu account for the decoration of the great Treasure of Saqqez brought to light on the south shore of Lake Urmia," was Leonard Woolley's assessment (Woolley 1961 p 176).
Style
The hoard contains objects in four styles: "Median", Assyrian, Scythian, proto-Achaemenid, and the provincial native pieces. Dated ca. 700 BC, this collection of objects illustrates the situation of the Iranian plateau as a crossroads of cultural highways—not least of them the Silk Road—which fused disparate cultures to inform early Iranian art. The objects have also been related to finds at Teppe Hasanlu and Marlyk.[1]
Current location
Examples of the Ziwiye Treasure are scattered among public and private collections. A 'Ziwiye' provenance may have been applied to comparable objects that have passed through the trade since the 1960s. Items attributed to the hoard are currently in the collections of the Metropolitan Museum in New York, the Louvre in Paris and the British Museum in London.[2][3][4]
Controversy
The archaeologist Oscar White Muscarella has questioned the whole account of the finding of the hoard (as he has done with the older Oxus Treasure), pointing out that none of the items were excavated under archaeological conditions, but passed through the hands of dealers. He concludes that "there are no objective sources of information that any of the attributed objects actually were found at Ziwiye, although it is probable that some were", and that the objects have no historical and archaeological value as a group",[5] although many are genuine and "exquisite works of art".[6] In a later work Muscarella denounced several "Ziwiye" objects as modern forgeries.[7]
Muscarella, Oscar White (1977), Archaeology, Artifacts and Antiquities of the Ancient Near East: Sites, Cultures, and Proveniences, 2013, BRILL, ISBN 9004236694, 9789004236691, google books, reprinted article from Journal of Field Archaeology, 1977, 4, nr. 2, "Ziwiye and Ziwiye': The Forgery of a Provenience"; google books
Muscarella, Oscar White (2000), The Lie Became Great. The Forgery of Ancient Near Eastern Cultures. Groningen, Styx 2000, 539 p., ISBN 9056930419, google books
Talbot Rice, Tamara, Ancient Arts of Central Asia, 1965, Thames & Hudson (Praeger in USA)
Woolley, Leonard, 1961.The Art of The Middle East, including Persia, Mesopotamia and Palestine. (New York: Crown Publishers)
Porada, Edith et al., 1962. The Art of Ancient Iran : Pre-Islamic Cultures (New York: Crown) On-line excerpt
Chardin: The Attributes of Civilian and Military Music; The Attributes of Music, the Arts and the Sciences; Boy with a Spinning-Top; The Buffet; The Ray; Saying Grace
La Tour: The Adoration of the Shepherds; The Card Sharp with the Ace of Diamonds; Joseph the Carpenter; Magdalene with the Smoking Flame; Saint Sebastian Tended by Saint Irene
Poussin: Camillus Handing the Falerian Schoolmaster over to his Pupils; Et in Arcadia ego; The Four Seasons; The Funeral of Phocion; The Inspiration of the Poet; Landscape with Orpheus and Eurydice
Quarton: Pietà of Villeneuve-lès-Avignon
Robert: Principal Monuments of France; Project for the Transformation of the Grande Galerie du Louvre
Scheffer: Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil
Vernet C.: A Mediterranean Port
Vernet H.Raphael at the Vatican
Vigée Le Brun: Peace Bringing Back Abundance; Portrait of Joseph Vernet; Self-Portrait with Julie (Self-Portrait à la Grecque); Self-Portrait with Julie (Maternal Tenderness)
Bellini: Christ Blessing; Madonna and Child with Saint Peter and Saint Sebastian; Portrait of a Young Man
Botticelli: Three Scenes from the Life of Esther; Venus and the Three Graces Presenting Gifts to a Young Woman; A Young Man Being Introduced to the Seven Liberal Arts
Perugino: Apollo and Daphnis; The Battle Between Love and Chastity; Madonna and Child with St John the Baptist and St Catherine of Alexandria; Madonna and Child with St Rose and St Catherine (with Ingegno); St Sebastian; Young Saint with a Sword
Piero della Francesca: Portrait of Sigismondo Pandolfo Malatesta
Romano: Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola (with Raphael)
Salviati: The Incredulity of Saint Thomas
Savoldo: Portrait of a Clad Warrior
Signorelli: Adoration of the Magi; Birth of John the Baptist
Tintoretto: Self Portrait
Titian: Allegory of Marriage; The Crowning with Thorns; The Entombment of Christ; Madonna of the Rabbit; Man with a Glove; Pardo Venus; Pastoral Concert (also attributed to Giorgione); Pilgrims at Emmaus; Saint Jerome in Penitence; Virgin and Child with Saints Stephen, Jerome and Maurice; Woman with a Mirror
Rembrandt: The Archangel Raphael Leaving Tobias' Family; Bathsheba at Her Bath; Landscape with a Castle; Pendant portraits of Marten Soolmans and Oopjen Coppit; Philosopher in Meditation; Saint Matthew and the Angel; Self-Portrait; Slaughtered Ox
Rubens: Helena Fourment with a Carriage; Helena Fourment with Children; Hercules and Omphale; Ixion, King of the Lapiths, Deceived by Juno, Who He Wished to Seduce; Marie de' Medici cycle; The Village Fête; The Virgin and Child Surrounded by the Holy Innocents
Ruisdael: Dune Landscape near Haarlem; The Ray of Light; Storm Off a Sea Coast
Scheffer: Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil