The kingdom of Urartu, originally a
confederation of numerous tribes from Eastern
Anatolia, was one of the most powerful states in
the Ancient Near East during the first half of the
first millennium BC, constituting one of the
fiercest rivals of the Assyrian Empire. It was in
the 9th century BC under Shalmaneser III (858-
824) that the Urartian state developed a
centralised system with several interconnected
palace-fortresses placed on high rock outcrops,
protected from their rivals, the Assyrians.
Yet our knowledge of Urartian culture and history
is mostly based on epigraphic evidence found
especially in the area of Lake Van and in the
Assyrian chronicles. From these sources, we
know that during the 8th century BC Urartu
expanded from Northern Turkey and Armenia,
into Azerbaijan, Kurdistan and the Euphrates
region, eventually coming into friction with the
Assyrians and the Persians. Most of their military
campaigns were indeed aimed at acquiring
silver, copper and iron ores for their intensive
metal-smithing industry.
When observing the military paraphernalia, such
as helmets, quivers, and belts, the decoration
undoubtedly can highlight important clues on
the life and beliefs of the Urartian people during
the two hundred and fifty years of existence of
their kingdom,especially considering the paucity
of alternative sources of archaeological evidence.
Although quite extensively produced, belts were
in fact manufactured only for a period of one and
a half centuries. This particular belt, made of
sheet metal, hammered, chased and perforated
along the borders to attach a leather lining, can
be ascribed to a specific subgroup dated to the
late 8th - early 7th centuries BC. Worked from
both sides by punching, on its outer surface, the
belt bears a hunting scene in relief with a single
hunter on horseback amidst galloping horses,
lions and bulls in flight, all rendered with a great
sense of movement, a feature absent in earlier
examples. In addition, floral and geometrical
ornaments have been arbitrarily inserted as
spacers in a manner common only from the mid
eight century; here the once large carefully
worked rosette (originally a sun symbol as
illustrated on the wall paintings at Altin tepe)
has become pure ornament, as has the winged
disk.
This beautiful ceremonial belt, which would have
originally been fastened with a leather strip tied
to the small loop at the front, in terms of décor
and technique represents one of the finest and
most informative, yet un-deciphered remains of
the material culture of the Urartian kingdom
during its political apogee.