JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. Artibus Asiae Publishers is collaborating with JSTOR to digitize, preserve and extend access to Artibus Asiae. http://www.jstor.org This content downloaded from 185.2.32.24 on Wed, 18 Jun 2014 14:11:44 PM All use subject to JSTOR Terms and Conditionsphase consisted of horse-trappings, helmets, shields, a quiver, arrowheads and a gilded silver vase-cover, bronze lion's head and bronze bowls. This variety of material available for detailed treatment, and the wide range of parallels for those details, make this a vastly interesting section. The art forms are found to be schematized and highly decorative as compared with their Assyrian contemporaries.The Transitional Period appears to be that of Argisthi II (713-685) and is represented in art by seals and the groups from inhumation burials at Altintepe. In this period, "belt-strips", horse-head terminals from chariots, horse trappings, all show a tendency toward the simplification of chased details and an increasing emphasis on modeled planes. The origins and development of bull's-head and siren attachments are pursued, as also connections for furniture legs and decoration, and jewelry (earrings, necklaces, bracteates) with true granulation. The connections again are with Assyria, but also with North Syria and NW Iran. The Second Phase, dating from Rusa II through Rusa III (685-615), covers a period illustrated by impressions from inscribed seals, candelabra, shields, and bronze open-work decorative friezes. Several old traditions are modified: body markings on animals are further simplified, lines straighten and punched circles appear as a convention for woolly or curly hair. What were once carefully drawn mane-locks become a network of short strokes. Several new influences are traced to the Scytho-Cimmerians and the rising Medes in the east. Part IV deals with the latest phase, and offshoots of Urartian art to be found beyond Urartian boundaries, in NW Iran, the Caucasus, and the west. The art lived on in that of the Medes, and of the "orientalized Scyths" after their expulsion from West Asia 61z2/ 590, and thus flowed indirectly into that of the Achaemenid Persians.
