Reliefs of Payava sarcophagus

SUMMARY The Payava Sarcophagus, which was taken to the British Museum in 1 844 from Xanthos, the Lycian capital until the end of the Classical Period, is a sarcophagus with two burial chambers and rich decoration of reliefs and imitation of wooden architectural elements. This study is mainly aimed to scientific and monographic evaluation of this monument, which is one of the outstanding examples of the Lycian art of the 4th century BC The reliefs of the monument will be examined from lower to the upper parts of the sarcophagus. The two figures on the middle block of the southernface, are seen in a crowning scene. The one to the left, which is armored, is Payava, receiving an honorary crown for his victories. This fact is confirmed by an inscription on the right side. On the combat scene depicted on the eastern broader side, Payava is on horseback and occupies the center of the scene, giving a clear idea of his victory over the opponent soldiers who are seen involved in theSatrap Revolt. The cavalrymen behind him are of a minor importance. On the northern narrower side, a coronation scene with three figures is depicted. The naked figure is being crowned for his athletic success. This scene, which is alien to Lycian Art, is also seen on the central beam of the Merehi Sarcophagus. Frequently depicted on the Panathenaic Amphoras, the also decorate the grave stelai. On the west side, an audience scene is depicted. This is a rare depiction which represents the Persian Art in Lycia. Satrap Audophradates, is seen audiencing a group of Lycians with magistrates standing behind him. The one in front of the group is predominant with his facial features and clothing. This must be Payava. Besides being depicted as having an audience of the Satrap, he himself is honored, the Satrap is seen representing the Persian power as well. On both of the broader sides of the lid, a quadriga scene is seen. These two quadrigas, showing a great resemblance apart from some small details, are different from each other in their function. When examined, two combat scenes are seen on the middle block and the central beam. According to the Lycian decoration program, another combat scene must have been depicted on this side of the lid. On the other hand, on the west side two genre scenes like audience on the middle block and hunting on the beam are seen. In this case, the quadriga should have been used in a genre-scene, perhaps depicting apobate races or hunting.On the narrower sides, two sphinxes at the upper, a man and a woman figure sitting are depicted facing each other. The sphinxes should be considered as apotrophaic figures of funerary decorations and should be traced back to Clazomenaian Sarcophagi, which are parallels of the Ionian pottery. The man and woman sitting opposite to each other must have been representing Payava and his wife. The forerunners of these scenes are also seen on the Calzomenaian Sarcophagi. The hunting on the western and combat scene on the western part of the beam completes the ideal representation of the Lycian aristocracy, since a Lycian noble should fight well, should be a good hunter and besides being a good athlete he should be good father. The Payava Sarcophagus is the most remarkable of those manufactured in the 4th century BC. The Persian rule is struggling to survive during this period. Audophradates, the Persian satrap, in order to overcome the revolts and protect his rule, came to Lycia to find an ally for himself and made a treaty with Payava, a Lycian ruler. Payava being victorious over the revolting mass, received this sarcophagus from the satrap as a gift. And in the final analysis, with Payava being honored, the Persian rule was exalted. The stylistic analysis revealed that this sarcophagus was manufactured within the period of 360- 350 BC, a date which is supported by historical facts.