By Şare, Tuna
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Additional resources for Dress and Identity in the Arts of Western Anatolia: The Seventh through Fourth Centuries BCE
Another veiled woman approaches her from the right. The dresses and veils both women wear are decorated with square metal appliqués. The medallion is Urartian, but illustrates the continued popularity of such fashion in general in Anatolia in the late seventh and sixth centuries. 79 With slight changes in the iconography, the fashion seems to have continued unabated during the Achaemenid period in Western Anatolia. A variety of gold foil appliqués, with Achaemenid motifs such as lamassu, winged figures, lotus flowers, bud chains, and rosettes occurred in several tombs in and around Sardis, all-dating from the Achaemenid period.
Also see Şimşek 1999. 95 Şimşek 1999, 2-4. 33 After the defeat of Lydian Kroisos by Persian Darius in 546, a new, ―Achaemenid Age‖ starts in Anatolia. Despite the political changes the textile industry seems to have maintained its significance for the people of the region, who were ruled by satraps appointed by the King at Persepolis until the coming of the Alexander the Great in 336. The evidence for the textile production in the Achaemenid period can be best traced in the artistic representations of the subject Anatolians on the Apadana reliefs in Darius‘ palace at Persepolis.
10 The Lydians inherited the textile industry, ivory carving and also the religion (Kybele) of the Phrygians, and were the first to coin money. The Lycian and Carian cities of southwestern Anatolia, and the Mysians of northwestern Anatolia never formed unified kingdoms, but each population had inhabited in their respective regions since Bronze Age, speaking Anatolian branches of IndoEuropean languages (map 2). 11 In the sixth century most of the Carian and Greek cities recognized the hegemony of the Lydian Kingdom.