Bag Of Holding With n Mouths

Katsushika Hokusai 葛飾 北斎,  Finch on Hibiscus, from an untitled series of blue (aizuri) Prints, 1831

This elaborate saddle blanket dates back to about 400-300 BCE. It was discovered in the Pazyryk barrows, located in the Altai mountains of Siberia, where it had been preserved in the permafrost for more than 2,000 years. It's made of felt, leather, horsehair, and gold foil.

Above: the appliqués at the center of the saddle blanket

The central design features two identical appliqués, each depicting an ibex being pinned down by a griffin.

Above: close-up of the appliqués

The sides of the saddle cover are also decorated with circular pendants made of felt; each of these pendants is trimmed with leather, encircled by tufts of horsehair, and embroidered with a stylized depiction of a ram's-head. A pair of horned tigers can also be seen at the base of each pendant.

Above: the pendants that hang from each side of the saddle cover

This artifact is attributed to the Altaic nomads of Siberia, who formed part of the larger group of cultures that are collectively known as the Scythians (or Scytho-Siberian peoples).

According to the Hermitage Museum:

Saddles used by the ancient Altaic nomads differ from those used today. They had no wooden base and consisted of two leather cushions filled with reindeer and horse hair and sewn together on one side. Felt saddle covers were traditionally decorated with scenes showing a beast of prey tearing to pieces a herbivorous animal. 

The Scythians were among the first cultures to begin using horses as mounts, and they invented one of the earliest forms of saddle. They were extremely skilled and accomplished riders, and their early mastery of mounted warfare enabled them to gain control over vast sections of Eurasia. That dynamic led to the development of a very noticeable "horse culture," with horses playing a critical role in many different aspects of Scythian life (and afterlife):

The horse was an essential part of Scythian life and was the most important and multipurpose animal used by the nomads. Initially, the Scythians reared large herds of horses mainly for their milk and hides, but eventually were among the first people to harness the horse as a mount.

By the 7th century BCE, the Scythians were already master horsemen and controlled a vast corridor of land that stretched across southern Siberia, from the Black Sea to the fringes of northern China. This expanse of land was greater than the Achaemenid Persian Empire, which the Scythians outlasted.

The Scythians produced many horse-related artifacts that have been discovered at sites throughout Eurasia, but this saddle cover is one of the most elaborate and most well-preserved examples of that tradition.

Above: the saddle cover from Pazyryk

Two other artifacts from Pazyryk have previously been featured on my blog -- a 2,300-year-old plush bird and an elaborate horse headdress.

Sources & More Info:

Hermitage Museum: Saddle Cover

World Archaeology: Do the Clothes Make the Horse? Roles, Statuses, and Identities in the Pazyryk World

University of Washington: Artifacts from Southern Siberia/Pazyryk

Expedition: The Textiles from Pazyryk (PDF)

Cambridge University Press: The Origins of Saddles and Riding Technology in East Asia

Routledge: Pazyryk Culture Up in the Altai

Benjamin Foster’s Gilgamesh condenses all the different tablets we’ve found together to make one cohesive narrative which is way less intimidating and therefore my go-to if you want something that feels cohesive while also sticking very close to the language of the original. 10/10

Andrew George is the most thorough and up-to-date, and sticks as close to the text as you can get. It does, however, separate out all the different tablets, and feels very unedited in its style. Definitely not a “pretty” version. 10/10 cuz he’s a legend and this is the most definitive scholarly edition but don’t start with it.

Maureen Kovacs has a lovely translation with some very interesting footnotes on word choices. Her Ninsun is absolutely incredible and if you want to cry your eyes out over Gilgamesh’s fate that’s the one for you. It’s one step up from Foster’s in terms of poetic-ness but still pretty close to the original. 8/10

Sophus Helle is more poetic than Kovacs but BRILLIANT, one of my favourite Enkidus and his Shamhat is wonderful. Top favourite of all time. This is a very good starting point. 9/10

I wouldn’t recommend Sandars simply because it’s prose, and also condenses the twelfth tablet into a nice tidy ending that doesn’t really work with the Standard Babylonian narrative. 6/10

Lewis’ Gilgamesh Retold is more of a poetic retelling than a translation; it’s beautiful but definitely not a starting point. Sweet and gentle Enkidu though, very charming. 7/10

Stephen Mitchell I’m not a fan of. He smooths the poem out into something tame and very expected. This is my personal bias but I really dislike his Shamhat. His Enkidu and Gilgamesh are also explicitly more like brothers, which is a valid interpretation but also again not one I lean towards. 5/10

Herbert Mason’s Gilgamesh has some stunning moments in it (Enkidu! They do not know you like I know you!) However it is nowhere near the real text BUT closer than Lewis’. Changes the ending of the poem so it’s about Gilgamesh mourning Enkidu rather than mourning his own mortality; a much sadder conclusion with less resolution than in the Standard Babylonian. 7/10

BONUS ROUND:

Derek Hines’ play GILGAMESH is fucking DERANGED guys. Ten Gilgillion out of ten.