It is remarkable that with the accession of Artaxerxes there is at once a revival of art. Art had sunk under the Parthians, despite their Grecian leanings, to the lowest ebb which it had known in Western Asia since the accession of Asshur-izir-pal to the throne of Assyria (B.C. 886). Parthian attempts at art were few and far between, and when made were unhappy, not to say ridiculous. The coins of Artaxerxes, compared with those of the later Parthian monarchs, show at once a renaissance. The head is well cut; the features have individuality and expression; the epigraph is sufficiently legible. Still more is his sculpture calculated to surprise us. Artaxerxes represents himself as receiving the Persian diadem from the hands of Ormazd; both he and the god are mounted upon chargers of a stout breed, which are spiritedly portrayed; Artabanus lies prostrate under the feet of the king’s steed, while under those of the deity’s we observe the form of Ahriman, also prostrate, and indeed seemingly dead. Though the tablet has not really any great artistic merit, it is far better than anything that remains to us of the Parthians; it has energy and vigor; the physiognomies are carefully rendered; and the only flagrant fault is a certain over-robustness in the figures, which has an effect that is not altogether pleasing. Still, we cannot but see in the new Persian art—even at its very beginning—a movement towards life after a long period of stagnation; an evidence of that general stir of mind which the downfall of Tartar oppression rendered possible; a token that Aryan intelligence was beginning to recover and reassert itself in all the various fields in which it had formerly won its triumphs.
The coinage of Artaxerxes, and of the other Sassanian monarchs, is based, in part upon Roman, in part upon Parthian, models. The Roman aureus furnishes the type which is reproduced in the Sassanian gold coins, while the silver coins follow the standard long established in Western Asia, first under the Seleucid, and then under the Arsacid princes. This standard is based upon the Attic drachm, which was adopted by Alexander as the basis of his monetary system. The curious occurrence of a completely different standard for gold and silver in Persia during this period is accounted for by the circumstances of the time at which the coinage took its rise. The Arsacidae had employed no gold coins, but had been content with a silver currency; any gold coin that may have been in use among their subjects for purposes of trade during the continuance of their empire must have been foreign money—Roman, Bactrian, or Indian; but the quantity had probably for the most part been very small. But, about ten years before the accession of Artaxerxes there had been a sudden influx into Western Asia of Roman gold, in consequence of the terms of the treaty concluded between Artabanus and Macrinus (A.D. 217), whereby Rome undertook to pay to Parthia an indemnity of above a million and a half of our money. It is probable that the payment was mostly made in aurei. Artaxerxes thus found current in the countries, which he overran and formed into an empire, two coinages—a gold and a silver—coming from different sources and possessing no common measure. It was simpler and easier to retain what existed, and what had sufficiently adjusted itself through the working of commercial needs, than to invent something new; and hence the anomalous character of the New Persian monetary system.
The remarkable bas-relief of Artaxerxes described above and figured below in the chapter on the Art of the Sassanians, is accompanied by a bilingual inscription, or perhaps we should say by two bilingual inscriptions, which possess much antiquarian and some historic interest. The longer of the two runs as follows:—“Pathkar zani mazdisn bagi Artahshatr, malkan malka Airan, minuchitri min Ydztan, bari bagi Pap-aki malka;” while the Greek version of it is—
The inscriptions are interesting, first, as proving the continued use of the Greek character and language by a dynasty that was intensely national and that wished to drive the Greeks out of Asia. Secondly, they are interesting as showing the character of the native language, and letters, employed by the Persians, when they came suddenly into notice as the ruling people of Western Asia. Thirdly, they have an historic interest in what they tell us of the relationship of Artaxerxes to Babek (Papak), of the rank of Babek, and of the religious sympathies of the Sassanians. In this last respect they do indeed, in themselves, little but confirm the evidence of the coins and the general voice of antiquity on the subject. Coupled, however, with the reliefs to which they are appended, they do more. They prove to us that the Persians of the earliest Sassanian times were not averse to exhibiting the great personages of their theology in sculptured forms; nay, they reveal to us the actual forms then considered appropriate to Ahura-Mazda (Ormazd) and Angro-Mainyus (Ahriman); for we can scarcely be mistaken in regarding the prostrate figure under the hoofs of Ahura-Mazda’s steed as the antagonist Spirit of Evil. Finally, the inscriptions show that, from the commencement of their sovereignty, the Sassanian princes claimed for themselves a qualified divinity, assuming the title of BAG and ALHA, “god,” and taking, in the Greek version of their legends, the correspondent epithet of OEOE
CHAPTER IV.
Death of Artaxerxes I. and Accession of Sapor I. War of Sapor with Manizen. His first War with Rome. Invasion of Mesopotamia, A.D. 241. Occupation of Antioch. Expedition of Gordian to the East. Recovery by Rome of her lost Territory. Peace made between Rome and Persia. Obscure Interval. Second War with Rome. Mesopotamia again invaded, A.D. 258. Valerian takes the Command in the East. Struggle between him and Sapor. Defeat and Capture of Valerian, A.D. 260. Sapor invests Miriades with the Purple. He takes Syria and Southern Cappadocia, but is shortly afterwards attacked by Odenathus. Successes of Odenathus. Treatment of Valerian. Further successes of Odenathus. Period of Tranquillity. Great Works of Sapor. His Scriptures. His Dyke. His Inscriptions. His Coins. His Religion. Religious Condition of the East in his Time. Rise into Notice of Mani. His Rejection by Sapor. Sapor’s Death. His Character.