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Non-sedentary cultures have existed on the scholarly fringes and historiographical outskirts of the art-historical canon: there they remain to this day, buried between dated opposites like “east” and “west,” “high” and “minor” arts, torn by interdisciplinary tensions in art history, archaeology and ethnography. Nomadic societies are usually considered in cross-cultural studies only insofar as they can act as sufficiently expedient intermediaries linking settled empires in the designated “East” and “West,” hence the recent fascination with the Pontic Scythians who bordered, traded and fought with ancient Greece, or the Xiongnu whose nomadic confederation became a geopolitical threat to early imperial China. Yet, early pastoral nomads bordering China and Greece left behind a rich corpus of gold adornment which points to an elaborate system of image-making and highly conceptual designs rooted in zoomorphism. The following article focuses on the strategies of self-fashioning and funerary decor employed in the entombment of the elite in the early nomadic societies of Central Eurasia. Golden suits, composed of metonymically conveyed animal images, along with foreign exotica, were the normative elements of a noble’s funeral. Adornment had to showcase the elite’s life on earth as that of a daring, globally recognized politician and a proud steppe resident.

Glittering Bodies: The Politics of Mortuary Self-Fashioning in Eurasian Nomadic Cultures (700 BCE-200 BCE)