Pazyryk Art in Context

Nearly a century has passed since the initial discovery of the Pazyryk kurgan complex and its tattooed mummies, yet our understanding of these Iron Age steppe nomads remains stagnant. The current project serves a twofold purpose. Firstly, I critique and readjust the Near Eastern-centric perspectives and paradigms utilized in the study of Pazyryk art in extant literature. A new Pazyryk-centric analytical framework is proposed, which need not be defined by a unidirectional Near Eastern influence, which undermines the cultural agency and intentionality visible in the archaeological corpus. Secondly, I introduce a distinction which acknowledges the higher social and cultural importance of the practice and permanent result of Pazyryk tattooing, more so than other artistic exercises resulting in motifs that decorate the material objects. This is supported by thorough comparisons with Achaemenid Persian motifs seen on material objects versus predominantly local Pazyryk tattoo art. It is possible to conclude that Pazyryk tattoo art is reserved as a medium with great socio-cultural significance void of clear Achaemenid influences. From this a detailed "Pazyryk Style" is established. Based on the evidence, I argue that a Pazyryk-centric approach is essential in striving towards a holistic and faithful reconstruction archaeologically; and that Pazyryk discourse can benefit immensely if these biases are no longer employed.