Iberian Peninsula to the indus

kaunakes
, the scale 
motif is probably also derived from 
a Mesopotamian visual device used 
to depict snakes as well as mountain 
landscapes. The disquieting figure of 
the “Scarface” is interpreted as an 
anthropomorphized form of dragon 
snake, perhaps an avatar of the snakes 
mastered by the “Oxus Lady” (
cat. 
91
). All the “Scarface” statuettes 
carry a small pot tucked under one 
arm, so that the liquid would fall from 
the mouth, therefore the creature is 
also associated with water. Snakes, 
in their sinuous, flowing movement, 
are often depicted in Mesopotamian 
art with the same metaphor image of 
a closed spiral or coil. It is tempting 
to understand the “Scarface” as a 
complex creature embodying several 
elements: water, serpent, mountain. 
He may have earned his scar in the 
course of a mythological, cosmic 
battle, perhaps with the “Oxus 
Lady”, his foe, counterpart and 
complementary spirit. This would be 
an early example of the Indo-Aryan 
narrative of the Dragon slaying, the 
hero and the handsome maiden. 
C.A.
1
 
Francfort 1982; arguments summed up in 
Vidale 2017, p. 168.

---

251
250
95
Kneeling youtH
WitH darK Body
Eastern Iran, Central Asia
Oxus Culture (ca. 2200–1800 BC)
Chlorite, limestone, H. 33 cm 
Private Collection, London, inv. 2086
In complete contrast with the 
disquieting and violent image of 
the “Scarface”, these peaceful and 
youthful figures are shown kneeling in 
repose, their legs folded under their 
skirt. The attitude, where the lower half 
of the body is hidden under the bag-
shaped skirt, is frequently depicted 
in banquet feasts scenes engraved 
on metal vessels and seals from the 
Oxus. The composite technique, 
using different stones in contrasting 
colours, is that used for the “Oxus 
Lady” and the “Scarface”. The 
kneeling youths share several details 
with the “Scarface”: the dark body 
in 
cat. 95
, the muscular torso, the kilt 
incrusted with hanging stripes, the lips 
ornaments, the thin metallic diadem 
of 
no. 96
. Unlike the “Scarface”, they 
are clean shaven, their face serious 
but engaging, and their elaborate hair 
style deceptively feminine, with long 
dreadlocks.
Subtle differences between each 
of the kneeling figures, such as the 
colour pattern and the stone (or 
faience in the case of 
cat. 98
), may 
indicate different role and status. 
Cat 95–96
with their erect torso 
convey an impression of restrained 
force and the calm confidence of 
the ruling class, as indicated by the 
diadem of 
cat. 96. Cat. 97
has a softer, 
less muscular body than 
95–96
; the 
stance is submissive, as he offers a 
vessel in both hands, a subaltern in 
the action. It is tempting to compare 
this offering to the pot tucked under 
the arm of the “Scarface”: does the 
vessel allude to different moments 
in a ritual, to another episode from 
a complex narrative from which only 
fragments survive? 
Cat. 98
, another 
lower participant in the narrative, is 
depicted with both hands joined on 
the chest, in the typical attitude of 
prayer adopted in the visual arts from 
Syro-Mesopotamia and Elam.
C.A.

---

253
252
96
Kneeling youtH
WitH WHite Body
Eastern Iran, Central Asia
Oxus Culture (ca. 2200–1800 BC)
Gypsum alabaster, chlorite, H. 20 cm
Private Collection, London
97
Kneeling youtH
offering a vaSe
Eastern Iran-Central Asia
Oxus Culture (ca. 2200–1800 BC)
Gypsum alabaster, chlorite, H. 20 cm
Private Collection, London

---

255
254
98
Kneeling youtH in prayer
Eastern Iran, Central Asia
Oxus Culture
(ca. 2200–1800 BC)
Faience, H. 10 cm, W. 5.5 cm
Private Collection, Paris
99
Man iMpriSoned By SnaKeS
Northeastern Iran or Central Asia
3300–3000 BC (?) or 2200–1800 BC (?)
Trachyandesite and chlorite, H. 8.4 cm, 
W. 5.5 cm 
Congregazione Armena Mechitarista, 
Venice