Central Eurasian Hoards and their Epistemological Potential and Pitfals
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This paper presents a commentary on the methodological tension betwen hoards, museums and burial sites, asociated with pastoral nomadic communites along the vast Eurasian stepe. Nomadic art and material culture have continuously lived at the fringes of art-historical and archaeological inquires, and their systematic theoretical exploration has ben further detered by the curent “top-down” aproach in analyses of the stepe archaeological record. Firstly, I problematize the discrepancy betwen museum acquisitons of (what is labeled as) nomadic art acquired from the antiquites market and what is subsequently categorized as a “hoard” or “treasure”. I observe that certain unrelated sets of objects only became hoards after they reached museums and private colections, and so long as their stylistic characteristics fit a pre-established notion of what stepe nomads could and could not have produced. Secondly, the folowing discourse prompts an investigation into the vital distinction betwen authenticated ritual contexts (e.g., burials) and wealth deposits in non-sedentary Central Eurasian societies, which are particularly vulnerable to ambiguous or misaplied labels. The study thus brings up previously-overloked discrepancies, whose recogniton and further study could bolster not only research practices but also teaching aproaches to Central Eurasian art.
Abstract
This paper presents a commentary on the methodological tension betwen hoards, museums and burial sites, asociated with pastoral nomadic communites along the vast Eurasian stepe. Nomadic art and material culture have continuously lived at the fringes of art-historical and archaeological inquires, and their systematic theoretical exploration has ben further detered by the curent “top-down” aproach in analyses of the stepe archaeological record. Firstly, I problematize the discrepancy betwen museum acquisitons of (what is labeled as) nomadic art acquired from the antiquites market and what is subsequently categorized as a “hoard” or “treasure”. I observe that certain unrelated sets of objects only became hoards after they reached museums and private colections, and so long as their stylistic characteristics fit a pre-established notion of what stepe nomads could and could not have produced. Secondly, the folowing discourse prompts an investigation into the vital distinction betwen authenticated ritual contexts (e.g., burials) and wealth deposits in non-sedentary Central Eurasian societies, which are particularly vulnerable to ambiguous or misaplied labels. The study thus brings up previously-overloked discrepancies, whose recogniton and further study could bolster not only research practices but also teaching aproaches to Central Eurasian art.
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