Persian-Sassanid art patterns
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Persian-Sassanide art patterns have similarities with the art of the Bulgars, Khazars and Sak-Scythians, and have recurred in Asia. They predominantly feature animal fighting motifs. Gold was frequently use as a base for their art creations.
Characteristic patterns of the Persian-Sassanide art exhibits similarity to the art of the Bulgars, Khazars, Sak-Scythian, and have recurred at different locations in Central Asia. Hundred and eight years after the excavation of the Treasure of Nagyszentmiklós' (1799) with a toreutics expo of 'griffin fighting an elk' (see figure on the left) - another griffin-&-elk motif has been discovered in the tombs of Hsiung-nu (early Huns, also Xiongnu) during Colonel Pyotr Kuzmich Kozlov expedition (1907–09) near Urga (Outer Mongolia).
A gold symbolization of 'animals-in-fight' has been also found in the vicinity of the city of Turpan - the principle crossroad of the northern Silk Road (see the Turpan gold on your right). Golden 'animals-in-fight' has also been identified as 3rd – 2nd century B.C. Mongolia (or southern Siberia), being charactteristic for Hsiung-nu or Xiongnu (see the scene of paired felines attacking ibexes as a cast of golden belt buckle on your left).
The Art of the Nomads 
The early history of the Nomads is shrouded with enigma, which lifts somewhat only after their contact with cultures possessing written history. Nomadic people of the vast steppes of Asia were a major force in history. Their power was not in the empires they built, but rather, it was the turmoil they have created on ancient civilizations such as China or Persia, affecting substantially their historical development. It is believed that the nomads ranged relentlessly and widely, forever moving on for sake of richer grazing for their horses and sheep. Migrations were often seasonal. In the course of such migrations nomads wove for themselves an imperishable and precious intimacy with their land and its natural resources. They could extract gold with unprecedented ease. In summer, during the tribe's seasonal migration, a fleece would be weighted on a riverbed to collect particles of alluvial gold. Upon the tribes' return, the fleece would be sheared, burned, and gold ingot the size of a horse's hoof would result. The 'tay tayak' (the horse's hoof) was a unit of gold for a long period: a measure of golden metal rather than money, since gold was not fabricated as currency. Usage of gold was essentially spiritual - as emblems of priestly office, of prizes for physical prowess in ritual sport, or as adornment of the sacral ceremony of marriage.
Art Recursion 
Barthes had discussed the art patterns as narratives of cultural coexistence (for details see: Introduction to structural analysis of narratives). However, Spivey summirizes that cultural coexistence is not the single reason to explain the phenomenon of art being recursive. Chomsky at al. argued that the core property of human communication (in a 'narrow' sense, including language) is recursion. According to Chomsky at al. recursion is attributed to limited syntax in the conception - with a finite set of elements to yield a potentially infinite array of discrete expressions. Thomas explaines the art recursion (in a 'broad' sense) with imposion of archetypal structures existing beyond the faculty of human communication. Studying Persian-Sassanide art patterns and possibly their early Nomadic conceptions is uncovering their symbols (symbolism) and creative imagination.
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