Hunara: Journal of Ancient Iranian Arts and History

Abstract This study examines glyptic materials from the Nastagisi cemetery in Eastern Georgia, including two stone scaraboids and a transparent greenish glass intaglio. Although, these finds provide important evidence for cultural and artistic interactions between Georgia and the wider Achaemenid and post-Achaemenid world. The stone scaraboids, based on stylistic parallels, are likely imports and are attributed to the Bern group of the Graeco-Persian glyptic tradition, whereas the origin of the glass intaglio remains uncertain, suggesting local production influenced by Graeco-Persian art. The presence of these glyptic materials in the later graves dated to the second-first centuries BCE, also illustrates long circulation and continued prestige of Achaemenid-derived glyptic traditions in the South Caucasus. Overall, the Nastagisi materials demonstrate both the persistence of Graeco-Persian artistic traditions and their adaptation within a local Georgian context.

Abstract Finger rings with an engraved bezel made of gold, silver, and bronze were highly popular in Georgia during the 5^th to 2^nd centuries BCE. Most of these rings were found during the archaeological excavations of various cemeteries and burial complexes across the country.
Finger rings with an engraved bezel were usually used not only as jewelry, but also as a seal. Therefore, production and distribution of the finger rings were closely associated with the development of the society, its needs and private property.
These types of rings are considered to be of local production. However, the influence of Achaemenid glyptic is evident in the style of ornamentation and depictions. Some of the motifs are known from Graeco-Persian gems such as Persian women seated or standing holding various objects, Persian men with a stick, etc. Rings with depictions of a human, probably a priest, holding a barsom above a fine altar; double-protome animals; rhyta with a representation of a horses and ibex(?) protomes; fantastic creatures; animals; were common motifs in the Achaemenid art.
These materials confirm the significant influence of Achaemenid art across the entire territory of Georgia (East, West, and South) during the Late Achaemenid and Post-Achaemenid periods (4^th and 3^rd century BCE).