دورا ومشكلة الفنّ البارثيّ بعد مئة عام
In 1935 Mikhail Rostovtzeff published his now classic essay ‘Dura and the Problem of Parthian Art.’ Written in the midst of the excavations of Dura-Europos, the essay was an attempt to define the characteristics of Parthian art. Although the details of his argument have not held up to critical scrutiny, his overall approach remains quite valuable. In particular, there are three elements of Rostovtzeff’s essay that are still especially relevant today. The first is his view that Parthian art was a cogent phenomenon, not the naïve eclecticism of imperial parvenus. The second is that the style of Parthian art was a deliberate choice, rather than a result of the gradual degradation of a Greek aesthetic. In other words, Parthian art looked the way it did for a reason. Third, Rostovtzeff used what might be termed a ‘black hole model’ of Parthian art. He believed that even in the absence of an excavated Arsacid imperial center, Parthian art could nevertheless be studied through its effect on adjacent artistic traditions, such as at Dura-Europos. Based on these three factors, Rostovtzeff’s essay remains the best lens through which to view the problem of Parthian art.