The Cimmerians or Kimmerians (Greek: Κιμμέριοι, Kimmerioi) were ancient equestrian nomads of Indo-European origin.
According to the Greek historian Herodotus, of the 5th century BC, the Cimmerians inhabited the region north of the Caucasus and the Black Sea during the 8th and 7th centuries BC, in what is now Ukraine and Russia. The archeologist Renate Rolle and others have argued that no one has demonstrated with archeological evidence the presence of Cimmerians in the southern parts of Russia or elsewhere.[1]
Scholars in the 19th and 20th centuries had relied upon Herodotus's account. But, Sir Henry Layard's discoveries in the royal archives at Nineveh and Calah have enabled the study of new source material that is several centuries earlier than Herodotus's history.[2] The Assyrian archeological record shows that the Cimmerians, and the land of Gamir, were located not far from Urartu, south of the Caucasus.[3][4] Military intelligence reports to Sargon in the 8th century BC describe the Cimmerians as occupying territory south of the Black Sea.[5]
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![]() | Pin (?)8th century BCE. Tumulus near the village of Vilshana, Cherkasy Region. Excavations 1984. |
![]() | Belt decoration8th century BCE. Vysoka Mohyla tumulus near the village of Balky, Zaporizhia Region. Excavations 1971 |
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http://miku.org.ua/en/jewelry_art/early_iron_age/cimmerian_art_(9th_8th_centuries_bce).html
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In the nowadays Ukrainian steppe there are many thousands kurgans – barrows left by the Cimmerians, the Scythians and the Sarmatians. The greatest among them are tombs of nomadic elite where the archaeologists excavate many artifacts. Among them there are gorgeous examples of ancient metal art created by local goldsmiths or imported with commercial operations and military campaigns.
The examples of the most ancient jewelry are the adornments found in the graves from the 9th – 7th centuries BCE. They decorated the Cimmerian warriors, their weapons, clothes, utensils and horse equipment. Cimmerian art has geometric motifs: circle, semicircle, spiral, squares, rhombus, crosses, etc. Metal decorations were created thanks to lost-wax casting, forging, stamping, carving and brazing. Some items were inlaid with glass.
http://www.perseus.tufts.edu/hopper/artifact?name=Florence+4209&object=Vase&redirect=true
Cimerians, Scythian or Thracians
François Vase: Volute crater, Attic Black Figure, In six registers: the Wedding of Peleus and Thetis; Achilles pursuing Troilos; Return of Hephaestus; the Calydonian Boar hunt; Theseus on Crete; Funeral games of Patroclus; Pygmies and Cranes; etc., Cleitias, Etruria, Archaeological Museum, Florence, Florence 4209
Collection: Florence, Museo Archeologico Nazionale
Summary: In six registers: the Wedding of Peleus and Thetis; Achilles pursuing Troilos; Return of Hephaistos; the Calydonian Boar hunt; Theseus on Crete; Funeral games of Patroklos; Pygmies and Cranes; etc.
Ware: Attic Black Figure
Painter: Signed by Kleitias
Potter: Signed by Ergotimos
Context: Excavated at Chiusi
Date: ca. 570 BC - ca. 560 BC
Dimensions: H. 0.66 m., D. rim 0.57 m.
Primary Citation: ABV, 76, 1
Shape: Volute krater
Beazley Number: 300000
Region: Etruria
Period: High Archaic
the Calydonian Boar hunt
The two friezes on the neck depict four different mythological subjects. The upper frieze on Side A shows the hunt for the Calydonian Boar. The boar, in the center of the scene, charges to the left while nineteen hunters attack him with spears, arrows and stones. The boar is pierced by four arrows, and a white dog stands on his back, biting his neck. The hunters attack in pairs: to the left of the boar, facing his onslaught, stand Peleus and Meleager, wearing short tunics and animal skins and holding their spears with both hands, thrusting low into the boar's head. Peleus is unbearded, Meleager bearded. Beneath the boar lies a fallen huntsman, Ankaios (written Antaios). To the left of Peleus and Meleager come Melanaion and Atalanta (written Atalate) and the only woman in the scene). Both carry spears upraised in their right hands, and hold their left hands forwards; Atalanta in addition has a quiver on her shoulder, since she drew the first blood of the boar with her arrow. Behind this pair is a crouching archer, Euthymachos, wearing a tall pointed hat and so, despite his Greek name, perhaps to be identified as a Scythian or Cimmerian like the figures to the right of the boar. Behind Euthymachos come two more pairs of huntsmen, Thorax and Antandros, and Harpalea[s] and Aristandros, running with their forward feet raised. All wear short tunics and animal skins; Thorax wears a small hat. Thorax, Antandros and Harpalea[s] wield spears; Aristandros throws a stone. To the right of the boar, Kastor and Polydeukes attack the beast. They are bearded (unusually), and wear short tunics and swords on baldrics. Behind the Dioskouroi are Akastos and his brother-in-law Admetos (written Asmenos) They are in the same stance as Atalanta and Melanion, but they run with their forward legs off the ground, and Admetos carries a spare spear in his forward hand, and both carry swords on baldrics.
http://www.perseus.tufts.edu/hopper/image?img=Perseus:image:1993.01.0119
Behind these spear men is another crouching archer, also wearing a pointed hat, and labelled *K*I*M*E*R*I*O*S, "The Cimmerian."
http://thaumazein-albert.blogspot.com/2012/01/hunt-for-calydonian-boar.html
Two more spear men advance behind him, Antimachos and Simon, wearing petasoi and carrying swords, and behind them, another archer, Toxamis, whose name is Scythian or Cimmerian in origin. Finally two more spear men bring up the rear at a run, Pausileon and Kynortes. Kynortes wears a petasos. The seven hunting dogs are all named: Labros, Methepon, Egertes, E[u]bolos, Korax, Marpsas, and Ormenos. Three are black and four white; one, Ormenos, has been killed by the boar and his entrails are visible through his split belly. The scene is flanked by sphinxes on either side.