By Dimosthenes Vasiloudis

The Scaraboid Telling Stories of Supremacy: A typical artistic example of propagandistic emphasis on the omnipotence of the Persian king

The art and culture of ancient Persia have always been a captivating treasure trove for historians and archeologists. Within this realm of historic material culture, one finds a multitude of symbols, motifs, and artistic practices that shed light on the sociopolitical constructs of the period. A notable artifact that recently captured global attention is an intricately carved scaraboid depicting a Persian King vanquishing a Greek Hoplite—an eloquent example of ancient propagandistic emphasis on the omnipotence of the Persian king.

Art as a Tool of Propaganda

Before delving into the specifics of this fascinating artifact, it is essential to understand the role of art in ancient civilizations. Art was a crucial means of communication and was often employed as an instrument of propaganda. In ancient times, literacy was not widespread, and images were a powerful tool for transmitting messages to the general public. Imagery often portrayed rulers in scenes of heroism, dominance, and divine favor, subtly influencing public perception and reinforcing power structures.

The Achaemenid Persians were a multicultural empire, and architecture, inscriptions, and art all served the king's essential function as ultimate ruler and custodian. The Persian palaces were decorated with coins, seals, and scenes of tribute-giving that specifically extolled the king.

Several Achaemenid reliefs show the king seated on his throne, flanked by soldiers and courtiers, and receiving envoys from all countries that were under his control, stressing his power and control over the enormous expanse of his kingdom.

The people of the empire were given a crucial message by each and every one of these propaganda pictures. Both the heavenly nature of his authority and his great royal might, which was able to crush every foreign uprising and rule over every human population, were described.

The Scaraboid: An Artistic Chronicle of Persian Strength

The same function is served by a rare scaraboid seal from the fifth century BC. It shows a Persian ruler (perhaps Xerxes I or Artaxerxes I) fastening his spear to a Greek hoplite, who then collapses to the ground in a gallery at the Getty Museum in Los Angeles.

As is well known, the Greco-Persian Wars and the "crushing of the barbarians" are prominent themes on ancient Greek ceramics. Nonetheless, it's really intriguing that this unusual propaganda seal prominently shows the Persian viewpoint.

The Greek hoplite is seen carrying a shield and a spear while being completely unclothed, only sporting the distinctive crested Corinthian helmet. The Persian king's long robe and crown are intricately and precisely etched. Over his shoulder are a bow and quiver.

The stone is supposed to have been found precisely in nearby Caria, and the engraving style points to an origin in western Asia Minor, likely Sardis.

Scaraboids, named for their similarity in shape to the scarab beetle, were common seals used in the ancient Near East. This particular specimen, carefully crafted from a semi-precious stone, is unique in its detailed depiction of a Persian King engaged in combat with a Greek Hoplite.

The depiction of a Persian king overcoming a Greek Hoplite may seem unusual given that historically, Persian-Greek conflicts, such as the famous battles of Marathon, Thermopylae, and Salamis, often resulted in Greek victories. However, the image serves a distinct propagandistic purpose, communicating the power, courage, and divine favor of the Persian king to its audience.

Detailed Examination: Symbols of Power and Superiority

The scaraboid artistry is impressive, revealing a wealth of details about the intended message. The Persian King is shown larger than the Greek Hoplite, a common artistic technique to demonstrate the superior status of the king. The king's facial expression is calm and composed, suggesting confidence and control over the situation, while the Hoplite's face is contorted in fear and defeat. This further underscores the idea of the king's invincibility.

Greco-Persian Conflicts between 477 and 449 BC

Known as the Campaigns of the Delian League against Persia, the Greco-Persian conflicts between 477 and 449 BC started with the Greek counterattack in Thrace and the Aegean to remove the remaining Persian garrisons from the region. In the next decade, the Athenian politician Cimon began a campaign in Asia Minor to strengthen the Greek position there. A great double victory for the Greek forces comes at the Battle of the Eurymedon, both in the sea and on land.

Towards the end of the 460s BC, the Athenians did support a revolt in Egypt against Persian rulers. Although the Greek task force achieved initial successes, the Athenian force was finally annihilated.

In 451 BC, while a truce was agreed in Greece (with the ongoing First Peloponnesian War), Cimon was once again able to lead an expedition to Cyprus. However, while besieging Kition city, Cimon died, and the Athenian force decided to withdraw, winning another victory at the Battle of Salamis in order to extricate themselves. This campaign marked the end of hostilities between the Delian League and Persia and therefore the end of the Greco-Persian War.

The newly discovered scaraboid presents a fascinating snapshot of the potent intersection of art, propaganda, and power in ancient Persia. It serves as a reminder that the representations of historical events can be significantly influenced by those in power and how they choose to present themselves. While the actual battles may have been lost on the fields, the war of images was fought and won with equal fervor in the grand courts and workshops of ancient Persia, and it is this battle that continues to resonate with us today. Through the scaraboid, we understand the calculated and deliberate projection of the Persian king's omnipotence, a narrative manipulated for the sake of bolstering his rule and control.