Артеміда Анаїта. Перський слід в культурі та ідентичності римського міста
The article analyses historical sources, mainly Greek and Latin, on the goddess Artemis Anahita, of Persian origin, who became an important part of the urban culture of several cities in Asia Minor during the Hellenistic and Roman periods. In terms of functions and visual representations, the Persia...
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Institute of Archaeology NAS of Ukraine
2026
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Chemistry, Physics and Technology of Surface| _version_ | 1872824666383450112 |
|---|---|
| author | Baukova, A. Yu. |
| author_facet | Baukova, A. Yu. |
| author_institution_txt_mv | [
{
"author": "A. Yu. Baukova",
"institution": "PhD, Associate Professor, the Ivan Franko National University of Lviv, the Department of Archaeology and Special Historical Studies",
"orcid": ""
}
] |
| author_sort | Baukova, A. Yu. |
| baseUrl_str | https://arheologia.com.ua/index.php/arheologia/oai |
| collection | OJS |
| container_end_page | 41 |
| container_issue | 2 |
| container_start_page | 29 |
| container_title | Археологія |
| container_volume | |
| datestamp_date | 2026-07-07T18:28:47Z |
| description | The article analyses historical sources, mainly Greek and Latin, on the goddess Artemis Anahita, of Persian origin, who became an important part of the urban culture of several cities in Asia Minor during the Hellenistic and Roman periods. In terms of functions and visual representations, the Persian goddess Anahita was incorporated into the Greek worldview under the “appearance” of Artemis, not in the iconography of the well-known Hellenistic statue by Leochares, but in a form similar to the statue of Artemis of Ephesus. During the second and third centuries AD, the magistrates of Sardis, Hypaepa, and Philadelphia adopted this goddess as one of the symbols of their cities. Coin types featuring Artemis Anahita appeared not only on issues of autonomous minting but also alongside the busts of emperors. Thus, numismatic sources reveal the visual representation and function of the goddess in maintaining the local identity of city elites of the Roman provinces in Asia Minor. |
| doi_str_mv | 10.15407/archaeologyua2026.02.029 |
| first_indexed | 2026-08-07T01:06:23Z |
| format | Article |
| fulltext |
НАЦIОНАЛЬНА АКАДЕМIЯ НАУК УКРАЇНИ • IНСТИТУТ АРХЕОЛОГIЇ НАН УКРАЇНИ
НАУКОВИЙ ЖУРНАЛ – ЗАСНОВАНИЙ У 1947 р.
ВИДАЄТЬСЯ ЩОКВАРТАЛЬНО
КИЇВ 2 2026
АРХЕОЛОГIЯ
Головний редактор
ЧАБАЙ В. П., член-кореспондент НАН України, Iнститут археологiї НАН України
Редакцiйна колегiя
БОЛТРИК Ю. В. – кандидат історичних наук, Інститут археології НАН України
БУЙСЬКИХ А. В. – доктор історичних наук, Інститут археології НАН України
ГАРДІ С. Е. – PhD, Альянс для боротьби зі злочинністю в інтернеті, Велика Британія
ДЖІНДЖАН Ф. – професор, доктор хаб., Університет Сорбонни, Париж-1, Франція
ЗАЛІЗНЯК Л. Л. – професор, доктор історичних наук, Інститут археології НАН України
КАЙЗЕР Е. – професор, доктор хаб., Вільний університет Берліна, Німеччина
МОТУЗАЙТЕ МАТУЗЕВІЧУТЕ (КІН) Ґ. – професор, PhD, Вільнюський університет, Литва
ОТРОЩЕНКО В. В. – професор, доктор історичних наук, Інститут археології НАН України
ПЛАВІНСЬКИЙ М. О. – кандидат історичних наук, Варшавський університет, Польща
ПОТЄХІНА І. Д. – кандидат історичних наук, Інститут археології НАН України, Україна
РАБІНОВІЦ А. – PhD, Техаський університет в Остіні, Сполучені штати Америки
ФОРНАСЬЄ Й. – професор, доктор, Галле-Віттенбергський університет імені Мартіна Лютера, Німеччина
ШЕВЧЕНКО Т. М. – кандидат історичних наук, Інститут археології НАН України (відповідальний секретар)
ШНЕЕВАЙС Є. – доктор хаб., Центр археології Ляйбніца, Німеччина
NATIONAL ACADEMY OF SCIENCES OF UKRAINE • INSTITUTE OF ARCHAEOLOGY NAS OF UKRAINE
SCIENTIFIC JOURNAL – FOUNDED IN 1947
FREQUENCY: QUARTERLY
Editor-in-Chief
CHABAI V. P., Corresponding Member of the NAS of Ukraine, Institute of Archaeology
of the National Academy of Sciences of Ukraine
Editorial Board
BOLTRYK Yu. V. – PhD in History, Institute of Archaeology NAS of Ukraine
BUISKYKH A. V. – DSc., Institute of Archaeology NAS of Ukraine
DJINDJIAN F. – Professor, Dr. Hab., University of Paris 1 Pantheon Sorbonne, France
FORNASIER J. – Professor, Ph.D., Martin Luther University Halle-Wittenberg, Germany
MOTUZAITĖ MATUZEVIČIŪTĖ (KEEN) G. – Professor, Ph.D., Vilniaus universitetas, Lithuania
HARDY S. A. – PhD., Alliance to Counter Crime Online, United Kingdom
KAISER E. – Professor, Dr. Hab., Institute of Prehistoric Archaeology Freie Universität Berlin, Germany
OTROSHCHENKO V. V. – Professor, DSc., Institute of Archaeology NAS of Ukraine
PLAVINSKI M. O. – PhD in History, University of Warsaw, Poland
POTEKHINA I. D. – PhD in History, Institute of Archaeology of the NAS of Ukraine
RABINOWITZ A. – PhD in Classical Archaeology, The University of Texas at Austin, USA
SHEVCHENKO T. M. – PhD in History, Institute of Archaeology NAS of Ukraine (Executive Secretary)
SCHNEEWEISS J. – Dr. Hab., Leibniz-Zentrum für Archäologie, Germany
ZALIZNIAK L. L. – Professor, DSc., Institute of Archaeology NAS of Ukraine
ARHEOLOGIA
KYIV 2 2026
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ISSN 0235-3490 (Print), ISSN 2616-499X (Online). Археологія, 2026, № 2 29
УДК: 291.21(56) https://doi.org/10.15407/arheologyua2026.02.029
© BAUKOVA Anastasiia Yuriivna, 2026 — PhD, Associate
Professor, the Ivan Franko National University of Lviv,
the Department of Archaeology and Special Historical
Studies, ORCID: 0000-0002-1636-981X, anastasiya.
baukova@lnu.edu.ua
© The Institute of Archaeology, the National Academy of
Sciences of Ukraine, 2026
ARTEMIS ANAHITA. PERSIAN TRACE
IN THE CULTURE AND IDENTITY OF THE ROMAN CITY
A. Yu. BAUKOVA
despite its rationality, especially in Roman times,
still retained a proportion of totemism and animism.
A striking example of this is the figure of Artemis, a
goddess whose origin, meaning, functions, and vi-
sual representation varied enormously depending
on the territory, ethnicity of the believers, and time
period. Among all the Olympic gods, it is the
brother and sister, Apollo and Artemis, who ex-
emplify sophistication, style, elegance, and divine
qualities. Few others equal them in the number of
visual representations. The proposed study aims to
expand the context of the figure of Artemis Anahita
discussed in previous publications (Баукова 2021;
2022). It is also suggested to adopt a broader per-
spective on the figure of the goddess in the con-
text of coinage and to further develop the observa-
tions of J. Nollé (2012), K. Jarzęcki (2012), and S.
Altıniluk (2013). The relevance of the article is de-
termined by the fact that the ancient world provides
many answers to the challenges of modernity, such
as identity formation, and the study of the ways in
which the population of Roman times constructed
or demonstrated identities can help to identify com-
mon paths and key aspects of these identities.
Anatolia was rich in various local deities who
were gradually absorbed into the hypostases of the
main Greek or Phrygian gods. Their universal es-
sence made them acceptable across the Mediterra-
nean, and they became gods of the whole Greek po-
lis world. An example is Apollo and Artemis, whose
Asia Minor origin is beyond doubt (Wilamowitz-
Moellendorff 1925, p. 50). The inhabitants of Lyd-
ia, Mysia, Phrygia, and further on, under different
names, honoured Zeus (Lydios), Apollo (Smintheus,
Lyceus (Licean)), Athena (Troas), mountain, and
river gods. However, Artemis (Leukophryene, Bo-
reitene, Anaitis, Ephesia, etc.) retained the foremost
place. In addition to architectural remains, epigraph-
ic sources, and information from ancient writers, nu-
mismatic materials play a significant role in recon-
structing the function and characteristics of her cult.
They will constitute the main focus of this paper.
Written sources on Artemis provide an exten-
sive body of evidence from the beginnings of Greek
writing. She was the personification of inviolability
The article analyses historical sources, mainly Greek
and Latin, on the goddess Artemis Anahita, of Per-
sian origin, who became an important part of the ur-
ban culture of several cities in Asia Minor during the
Hellenistic and Roman periods. In terms of functions
and visual representations, the Persian goddess Ana-
hita was incorporated into the Greek worldview under
the “appearance” of Artemis, not in the iconography
of the well-known Hellenistic statue by Leochares, but
in a form similar to the statue of Artemis of Ephesus.
During the second and third centuries AD, the magis-
trates of Sardis, Hypaepa, and Philadelphia adopted
this goddess as one of the symbols of their cities. Coin
types featuring Artemis Anahita appeared not only on
issues of autonomous minting but also alongside the
busts of emperors. Thus, numismatic sources reveal
the visual representation and function of the goddess
in maintaining the local identity of city elites of the Ro-
man provinces in Asia Minor.
K e y w o r d s: Roman province of Asia, Artemis,
Anahita, Greek religion, Persian religion, coins,
archaeology.
The spiritual life of any society is an interesting and
complex topic for research, especially when it comes
to territories inhabited since ancient times or areas
where several historical traditions intersect. The
change of historical periods and state formations, the
objective circumstances of climate change and natu-
ral disasters affect the worldview of the region’s in-
habitants, and, as T. Pratchett rightly noted, the gods
do not die. They simply turn into ghostly voices or
footnotes in a textbook on the history of religion.
Old gods do new work. The phenomenon of human
culture shows the amazing flexibility and continuity
of primitive beliefs. The pantheon of the Greek gods,
This is an Open Access article under the CC BY-NC-ND 4.0 license
https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.en
ISSN 0235-3490 (Print), ISSN 2616-499X (Online). Археологія, 2026, № 230
and the purity of wild nature, and it was in her na-
ture to disappear, to stay away (Otto 2022, p. 96).
In myths and literary works, it is repeatedly empha-
sised that she cares for wild animals as a mother
would. On the so-called François Vase (or François
Krater), Artemis is shown as Pótnia Therón (the
Mistress of Animals), the epithet by which Homer
refers to her (Hom. Il, 21. 468). Her favorite ani-
mals were lions, leopards, and deer. She also inter-
vened in human affairs. Pausanias writes about hu-
man sacrifices offered to Artemis (Paus. VII, 19, 4),
and mythological tradition recalls the intended sac-
rifice of Iphigenia to the goddess. It is interesting
that Artemis’ arrows, like those of her brother Apol-
lo, brought a quick and gentle death; for this reason,
Artemis was regarded as the giver of an easy death,
without long-term illness or pain (Odyssey, V, 124;
XI, 172; XV, 411; XVIII, 202; XX, 61).
In the Hellenistic period, coinage flourished, and
the depiction of the gods became a form of worship
and patronage. In the numismatics of Asia Minor, Ar-
temis is typically depicted as a bust with a bow slung
across her shoulders and accompanied by her sym-
bols — a bee or a deer — as was common in Ephe-
sus. At this time, with the development of art and ar-
chitecture, the tradition of placing images of shrines
and statues of gods on coins emerged. In this context,
Asia Minor became particularly recognisable for one
of the wonders of the world — the Temple of Arte-
mis in Ephesus — and for the statue of the goddess
with a hundred exposed breasts, which symbolised
her maternal care. Greek cities under Roman rule not
only continued minting coinage, but they also devel-
oped important traditions. The Romans, as is known,
honoured Artemis under the name Diana, and this Gre-
co-Roman symbiosis on the western coast of Asia Mi-
nor evolved into the cult of the so-called Diana of Per-
sia — a fusion of Artemis and Anahita. It should be
noted that publications use different transliterations of
the Persian name of the goddess — Anahita, Anahit,
Anaitis, Ardvi Sura Anahita, Anāhīta (Boyce 1983,
p. 1003). In this article, we will use the form Anahita
or Artemis Anaitis (Άηαΐτις Άρτεμις) as mentioned in
a Lydian inscription (Meriç et al. 1981, p. 38-40).
Written sources allow us to trace who this Per-
sian goddess was and how her cult reached Anato-
lia. In the third book of the Babyloniaca, Berossus
wrote that during the reign of Artaxerxes II, statues
of Anahita were erected in Babylon, Susa, and Ec-
batana, and that the king himself “encouraged” the
Persians, Bactrians, and inhabitants of Damascus and
Sardis to worship the goddess, who is identified in
the text with Aphrodite. This priest notes that Artax-
erxes II was the first Persian king to build a temple
to this goddess and erect a statue. Anahita, known in
the sources as Anāhitisz, was of Mesopotamian ori-
gin and became one of the main goddesses of the Zo-
roastrian pantheon (Wójcikowski 2010, p. 14). She
was considered the goddess of fertility and natural
forces. In his biography of Artax. II, Plutarch men-
tions this goddess and the peculiarities of her cult in
several places (Plut. Artax., 3). At the beginning of
the biography, Plutarch notes that the king went to
Pasargadae, where there was a temple to the goddess
of war, so that Persian priests could perform an ini-
tiation rite confirming his kingship. For Plutarch, the
essence of this goddess remains unclear. He assumes
that she can be identified with Athena; however,
translators and scholars commenting on the Russian
translation of Parallel Lives (S. Lurie, S. P. Markish,
M. E. Grabar-Passek, and S. I. Sobolevsky) point out
that this goddess is in fact Anahita, not Athena. Still.
there is a place for debate. Plutarch tells us that the
method of initiation was intriguing: the candidate
for initiation had to enter this sanctuary, lay aside
his robe, and put on the garment that Cyrus the El-
der used to wear before he became king. He then ate
a cake of figs, chewed some turpentine-wood, and
drank a cup of sour milk. In the quoted passage, Plu-
tarch emphasises that whatever else is done besides
this remains unknown to outsiders (Plut. Artax., 3).
The long life of Artaxerxes II became a histori-
cal canvas for the development of the cult’s philos-
ophy. In the final part of his biography, we find the
episode of Aspasia, whom Artaxerxes appointed as
a priestess of the Artemis of Ecbatana — identified
with Anahita — so that she might remain chaste for
the rest of her life (Plut. Artax., 27). Strabo also left
some information about Anahita in his Geography.
In describing Armenia, Strabo notes: “Now the sa-
cred rites of the Persians, one and all, are held in
honour by both the Medes and the Armenians; but
those of Anahita are held in exceptional honour by
the Armenians, who have built temples in her hon-
our in various places, and especially in Acilisenê.
Here, they dedicate male and female slaves to her
service. This, indeed, is not a remarkable thing; but
the most illustrious men of the tribe actually con-
secrate to her their daughters while maidens; and
it is the custom for these first to be prostituted in
the temple of the goddess for a long time and after
that to be given in marriage; and no one disdains to
live in wedlock with such a woman.”1 (Strabo, XI,
14. 533).
1 Translation by H. L. Jones.
ISSN 0235-3490 (Print), ISSN 2616-499X (Online). Археологія, 2026, № 2 31
The erection of statues and the construction of
temples dedicated to a personified goddess, rather
than to a fire, as it was in earlier Zoroastian tradi-
tion, in the territory of Lydia represents an impor-
tant development in Persian religion. Significantly,
Anahita became the first goddess to be honoured in
the Greek manner. In official documents, Artaxerx-
es II, alongside Ahura Mazda, also began to refer to
Anahita and Mithra (de Jong 1997, p. 40).
Tacitus, in the third book of his Annals, reports,
“Hierocæsarea went back to a higher antiquity, and
spoke of having a Persian Diana, whose fane was
consecrated in the reign of Cyrus. They also quoted
the names of Perperna, Isauricus, and many other
generals who had conceded the same sacred char-
acter not only to the temple but to its precincts for
two miles.”2 (Tac. Ann. 3.62). When the Persians
conquered Phrygia and Lydia in 546 BC, Anahita
became part of the spiritual culture of the region. At
this time in Phrygia and Lydia, the dominant deities
were the Great Mother (Mother Cybele) and Arte-
mis. Over time, local ideas about deities, particu-
larly those concerning Anahita, were shaped by the
religious traditions and beliefs brought by the Per-
sian colonists. The Greeks of the region sometimes
identified her as Artemis. Epigraphic evidence from
the Roman period indicates that Greek-speaking be-
lievers who worshiped the Great Mother addressed
her as Artemis Anahita. In Philadelphia and in Mae-
onia, she was known as Matar Anaitis (Wright
1895, p. 66). In his study, S. Wikander indicates that
in the Lydian-Phrygian region there were conditions
for the rapprochement of the two mother goddesses,
the Phrygian and the Iranian, who were worshipped
there. This was indicated by her cult name, especial-
ly in combination with local deities, especially Men
Tiamou. However, a true “syncretism” between
these two goddesses, who are nevertheless quite
similar in nature, never took place in the homeland
of the Cybele cult, where Anaitis is also so abun-
dantly attested. (Wikander 1946, S. 220).
The complex situation arising from the presence
of such local variants of deities can be clearly ex-
plained by Diodorus of Sicily: “Demeter, for exam-
ple, crossed over into Attica and then removed from
there to Sicily and afterwards to Egypt; and in these
lands her choicest gift was that of the fruit of the corn
and instructions in sowing it, whereupon she received
great honours at the hands of those whom she had fa-
voured. Likewise, Aphrodite made her seat in Sicily
in the region of Eryx, among the islands near Cyth-
2 Translation by J. Jackson.
era and in Paphos in Cyprus, and in Asia in Syria;
because of the manifestation of the goddess in their
country and her extended sojourn among them, the
inhabitants of the lands appropriated her to them-
selves, calling her, as the case might be, Erycinian
Aphrodite, and Cytherian, and Paphian, and Syri-
an. And in the same manner Apollo revealed himself
for the longest time in Delos and Lycia and Delphi,
and Artemis in Ephesus and the Pontus and Persis
and Crete; and the consequence has been that, ei-
ther from the names of these regions or as a result
of the deeds which they performed in each of them,
Apollo has been called Delian and Lycian and Pythi-
an, and Artemis has been called Ephesian and Cre-
tan and Tauropolian and Persian, although both of
them were born in Crete. And this goddess is held in
special honour among the Persians, and the barbar-
ians hold mysteries which are performed among other
peoples even down to this day in honour of the Persian
Artemis.”3 (Diod. Sic., Library of History, V, 77).
At the end of the 1st century AD, the Roman his-
torian Tacitus, in his work on the Germanic tribes,
describes a practicus phenomenon (interpretatio Ro-
mana), in which a Roman rendered a foreign deity by
the name of a deity known to him (Tac. Germ. 43).
When the Greeks or the local inhabitants of Phrygia
and Lydia acted similarly, we speak of an interpreta-
tio Graeca (Pfeiffer 2015, p. 37), that is, the Greek
translation of a foreign god (in our case, Anahita).
The possibility of translating or identifying gods is
of central importance, as it seems to make possible a
rapprochement between the two cultures in the field
of religion, and even more so when it comes to the
restoration of archaic, non-Greek gods in Greek cit-
ies during the Roman period.
The images of Anahita on the stone stelae pub-
lished in the Lexicon Iconographicum Mythologiae
Classicae (LIMC, p. 610) do not correspond exact-
ly to the known coin types, nor do they replicate the
famous bronze statue associated with Anahita. More
can be said about Artemis Anahita on the basis of nu-
mismatic evidence. The number of coin issues and
the length of time during which the image of Arte-
mis Anahita was used in Asia Minor can allow us to
identify several characteristic features. In the Roman
province of Asia, formed from the territories of the
former Pergamon Kingdom in 133 BC, the figure of
Anahita appears on the coins of Sardis, Philadelphia,
Apamea, and Hypaepa. The mints of these cities, ex-
cept for Sardis, produced small bronze change for the
local market, and therefore, the magistrates placed
3 Translation by C. H. Oldfather.
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busts of local deities or phenomena significant for
the region on their coins. The relatively small area of
the bronze flan became a medium for displaying tra-
ditions, the importance of the city, religious cults, and
outstanding architectural monuments dating back to
the earliest times. It can be assumed that the design of
coins was one of the manifestations of local self-gov-
ernment and depended on the preferences of a par-
ticular official. Since coins also functioned as a me-
dium for maintaining good relations with the Roman
authorities, there is a debate among numismatists
about whether the magistrates needed to coordinate
their design with government officials. Scholars are
not sure whether coins can be used unconditionally
to study local identity. It has been suggested that they
should be seen as a “form of common discourse” be-
tween those who selected the types and the Roman
authorities. On the other hand, the limited sphere of
coin circulation, confined to the local market, leaves
little room for concluding the reaction of the central
government or the forms of interaction between the
magistrates and the provincial administration (Wil-
liamson 2005, p. 19). In general, coins constitute a
particularly valuable source as their design was de-
termined by local elites, while their primary users
were ordinary residents with diverse social and edu-
cational backgrounds. However, the symbols and fig-
ures depicted on coins were generally clear and rec-
ognisable to all categories of users.
As a rule, coins depicting the statue of Anahita
contain an ethnicon and indicate the promotion of a
primarily local identity. Also, not all existing coins
mention the magistrate responsible for the issue.
Unlike the coins with the emperor’s bust, the legend
on the coins depicting Anahita is written in Greek.
These factors suggest that the local pro-government
elites primarily sought to satisfy their own need for
legitimation and self-promotion, rather than pro-
mote broader Roman values (Butcher 2005, p. 145).
In connection with the above, it is important to
consider the very appearance of Anahita’s figure on
the coins of cities in Asia Minor. During the Hellenis-
tic period, the dominant type of Artemis image was
based on the statue by Leochares, known today as
Diana of Versailles or Artemis, Goddess of the Hunt.
The statue depicts the goddess running on the hunt,
supported by a tree trunk and a fawn. Artemis is wear-
ing a Dorian chiton, a himation, and sandals. Howev-
er, coins depicting Anahita from the 1st century BC
to the 2nd century AD show a statue of an archaising
type, visually reminiscent, though only vaguely, of
the statue of Artemis of Ephesus. The goddess (Ana-
hita) is depicted standing, dressed in a chiton, fac-
ing the viewer, with her head adorned by a band. The
clothing beautifully emphasises, yet covers, the waist
and chest, and a veil draped over her arms falls in
lush folds. Ribbons extending from the band to the
arms, together with supports in the form of dots run-
ning from the hands to the tips of the feet, create a
trapezoidal contour around the figure. Sometimes,
birds or deer were placed near the arms or legs of the
statue. This emphasised the hypostasis of Anahita as
the ruler of animals or reflected a visual resemblance
to the statue of Artemis of Ephesus. M. Riсl confirms
that the iconography of Anahita was significantly in-
fluenced by local traditions, and that on Lydian mon-
uments she appears in the form of the Greek or Ephe-
sian Artemis (Ricl 2002, p. 201).
It is worth noting that Anahita did not supplant
other types of Artemis figures — coins depict-
ing the statue of the city’s patroness continued to
be minted in Ephesus, and a bust of Artemis with
a bow appears on coins of many cities, includ-
ing Perga (Pamphylia), Amphipolis (Macedonia),
Thyateira (Lydia), Thasos (Thrace), Apameia (Ph-
rygia), Magnesia ad Maeandrum (Ionia), Philadel-
phia (Lydia), and Nacrasa (Lydia), among others.
In addition to coins featuring local themes, mints
in the cities produced legal tender bearing the emper-
or’s bust and an accompanying legend. Artemis Ana-
hita appears earliest on coins with the bust of Augus-
tus, minted in Apamea (fig. 1) and Hypaepa (fig. 2).
This example is important not only because of
its early dating — since Anahita mostly appeared
on the coinage of the emperors Domitian, Tra-
jan, and Marcus Aurelius, that is, in the late 1st and
2nd centuries AD — but also because it shows the
common development of the tradition of depict-
ing emperor Augustus on provincial coins. First of
all, these coins bear the Greek legend ΣEBAΣTOΣ
and occasionally include the name of the emper-
or or his magistracy. By contrast, elements of local
significance — such as the Meander pattern or in-
clusion of magistrates’ names — are particularly in-
formative. For example, the legend of a coin bear-
ing the bust of Emperor Augustus from Apamea
informs us about the magistrate’s family and ori-
gin — ΔIONYΣIOΣ AΠOΛΛΩNIOY MEΛITΩN
AΠAMEΩN (“magistrates Dionysus, son of Apol-
lionios and Melito, of Apamea”4). On the coin bear-
ing the bust of Emperor Augustus from Hypaepa, the
legend reads YΠAIΠHNΩN EΡM-MENANΔΡOΣ,
i.e., “the inhabitants of Hypaepa, Herm and Menan-
dros”. The magistrate Herakleidos of Maeonia also
4 Translated by A. Baukova.
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Fig. 1. Bronze (AE20) coin of Apameia, Phrygia (27 BC — 14 AD), depicting the cult image of Artemis Anaitis on a
Maeander pattern, after: SNG von Aulock 3486
Fig. 2. Bronze (AE16) coin of Hypaepa, Lydia (27 BC — 14 AD), depicting the cult image of Artemis Anaitis facing forward,
wearing a polos and veil, after: Kurth 2020, no. 52
left an informative legend: EΠI HΡAKΛEIΔOY
AΡX TO Γ MAIONΩN (“Herakleidos archontes to
Maeonians”5) (Head 1901, no. 51).
The next important point of analysis is the im-
age on the reverse of the province’s coins. When
examining coins from Hypaepa or Philadelphia fea-
turing the classical representation of the statue of
Artemis Anaitis alongside the bust of Agrippina
5 Translated by A. Baukova.
the Younger (Kurth 2020, no. 102), Emperor Nero
with Statilia Messalina (SNG Cop, no. 191), Em-
peror Trajan (Kurth 2020, no. 106), another signif-
icant feature emerges. The statue of Artemis Ana-
hita was sometimes presented as an attribute in the
hands of other goddesses — Athena (Kurth 2020,
no. 116), Roma (SNG Cop, no. 387), or Tyche (Ba-
belon 1898, no. 5156) — or displayed within the
interior of a temple. One good example of what
the temple in Hypatia looked like is, for example,
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the coins of this city with the bust of Julia Domna
(Tekin 2012, no. 331–334). Notably, such cult im-
ages of deities — especially Zeus, but in the prov-
ince of Asia also Tyche, Cora, or Anahita — func-
tioned as symbols of power and were transformed
into well-known emblems in the hands of the ruler.
The coin bearing Domitian’s bust features a com-
position depicting a handshake between two god-
desses — Tyche of Philadelphia and Tyche of Ephe-
sus — where the patroness of Ephesus holds a stat-
ue of Anahita. This design represents a variant of the
visualisation of the concept of homonoia (Greek:
Ὁμόνοια), understood as order and unity, or the union
of hearts (Tarn 2002, p. 400), a notion known since
Hellenistic times. In the Greek cities of the Roman
province of Asia, as well as in the eastern provinces
broadly, homonoia functioned as a symbolic mech-
anism for managing intra-city tensions and forming
alliances (Price 1985, p. 129). Although there was
a separate personification of the goddess of consent
in the ancient world, coins depicting a female figure
with the legend OMONOIA reflected not the cult
of this goddess, but rather political consent or other
forms of inter-city alliances. The composition of a fe-
male figure seated on a chair holding a statue of Ana-
hita was also used to symbolise consent. This type
was selected by the magistrates of Philadelphia for a
coin bearing a bust of Emperor Trajan (fig. 3).
At first glance, identification of the statuette is
complicated because the coin is not well-preserved,
but other coin issues from Philadelphia help con-
firing that it is Anahita. This is a semi-autonomous
coin, dated to AD 198–217, issued in honor of the
alliance with Smyrna (Kurth 2020, no. 96).
The statuette of Anahita held by another char-
acter is also found on coins featuring the busts of
Faustina the Younger (Kurth 2020, no. 289) or Ju-
lia Domna (Kurth 2020, no. 208). An interesting
composition is found on the coin bearing the bust
of Commodus of Hypaepa: the goddess Tyche bear-
ing the iconic image of Anahita, faces right toward
Apollo, who sits opposite with a lyre and also holds
a statuette of Anahita in his right hand (fig. 4).
The connections and religious connotations be-
tween the goddesses Anahita and Tyche are strong-
ly attested by coinage (fig. 5). In other words, it
can be inferred that these two goddesses personi-
fied good fortune or divine protection for the city
magistrates or the ruler.
The cities of the province were comparable in
economic terms, making direct competition unlike-
ly. However, ideological and cultural rivalry between
them served as a driving force for the promotion of
cultural values and local cults. Given the ideological
dispute among the magistrates of the major cities in
the province of Asia over the right to perform impe-
rial worship, this privilege also became an element of
local identity. Obtaining permission to build a tem-
ple in honour of the emperor — a neokorate — took
time and required the efforts of the entire communi-
ty. The presence of a neocorate added considerable
prestige and political weight, and undoubtedly be-
Fig. 3. Bronze (AE28) coin of Philadelphia, Lydia (AD 98–117), depicting the deity seated left on a throne, right leg drawn
back, holding a statue of Artemis Anaitis, after: Kurth 2020, no. 239
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Fig. 4. Bronze (AE35) coin of Hypaepa, Lydia (AD 177–192), depicting Tyche standing right, holding a transverse sceptre
and cult image of Artemis Anaitis in her right hand, facing Apollo seated left, holding a lyre in his left hand and cult image
of Artemis Anaitis in his right, after: SNG von Aulock 2965
Fig. 5. Bronze (AE 36) coin of Hypaepa, Lydia (AD 193–211), depicting the statue of Artemis Anaitis, combined with the
image of the goddess Tyche, holding a horn of plenty and a rudder, after: Kurth 2020, no. 168.
came the focus of public display, including through
the medium of coins. It is important to note that com-
positions celebrating the neocorate also feature the
statue of Artemis Anahita. Such coins were based on
the main “whales” of the Greek cultural model un-
der Roman rule — the personification of the demos,
the boule, and the goddess Tyche. This tradition dates
back to the era of Antoninus Pius in the semi-auton-
omous mint of Apamea. During the reign of emperor
Septimius Severus, coins were circulating in Phila-
delphia with a reference to the neocorate in the leg-
end surrounding the cult statue of Artemis Anahita.
The wide range of coin types and compositions at-
tests to the significant role of Anahita in the world-
view and self-identification of the city dwellers of the
Roman province of Asia for a considerable period
of time. Yet, despite this informative content, coins
remain “texts of silence”. For example, none of the
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coins available for analysis bear the goddess’s name;
they depict only her statue and statuettes. Due to the
lack of information, it is difficult to understand what
the locals called the goddess and who is referred to
as the “Persian Diana” in Roman sources. The coins
also contain information about the temple or temples
where the cult statue was placed, but this informa-
tion has not yet been confirmed archaeologically. For
example, while written sources unanimously indicate
the existence of a temple of Anahita in Sardis dating
to the time of Persian rule, the city’s coinage presents
the goddess as one of the personifications of the city
in the context of alliances with Ephesus or Hypaepa,
without mentioning the temple. The magistrates of
Sardis generally preferred to depict temples on coins,
but some of them were not identified due to ambi-
guity in the legend, the statue of the deity, or the im-
age. A coin from Philadelphia bearing a bust of Mar-
cus Aurelius depicts a distyle temple with an arched
architrave, within which stands a statue of Anahita
(fig. 6). Similarly, the image of the tetrastyle temple
and the iconic statue of Artemis Anaitis appears on
the coin of Emperor Trajan from Hypaepa (fig. 7).
However, in general, among the surviving coins
of the city minted between 133 BC and 251 AD,
temples featuring statues of various gods — Aph-
rodite, Artemis, and Helios — appear in 23 cases.
In other words, in Roman times, local communi-
ties constructed their identity and engaged in self-
promotion around cult centres, and Anahita was no
exception. The appearance of temples that differed
only in minor details nevertheless suggests that the
magistrates depicted actual architectural objects.
This is confirmed by a coin bearing the bust of Em-
peror Claudius. Firstly, this represents a rare case in
which a monument can be identified by the inscrip-
tion on the reverse side of the coin — the legend
DIAN (A) EPHE (SIA) encircles the temple. Sec-
ondly, the visual design of the Ionic-style column
capitals of the temple corresponds with descriptions
from other sources (Jarzęcki 2012, p. 166).
On the other hand, a temple featuring a statue
of Anahita is depicted on a coin from Zela in Pon-
tus, a city remote from the main centres of the god-
dess worship. The temple had an arched pediment
and elaborate capitals on the columns, with a burn-
ing altar inside. This image was accompanied by a
bust of Septimius Severus on the other side (Dal-
aison 2007, p. 9).
As noted above, various animals functioned
as symbols of Artemis. Partridge and quail were
considered sacred birds to the goddess. From the
Greek name for quail, ortyks, and from the island
where these birds nested and the goddess was said
to be born, Artemis was sometimes called Ortigia.
One depiction of a statue of Anahita holding birds
in her hands is found on a coin of semi-autono-
mous minting from the reign of Antoninus Pius in
Apamea (fig. 8).
It is noteworthy that the coin depicts an inter-
esting phenomenon of the personification and ven-
eration of the boule (for more details, see: Баукова
Fig. 6. Bronze (AE34) coin of Philadelphia, Lydia (AD 161–180), depicting a distyle temple with a curved architrave, depicting
the cult image of Artemis Anaitis standing facing forward, wearing a polos and veil, after: Kurth 2020, no. 280
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Fig. 7. Bronze (AE31) coin of Hypaepa, Lydia (AD 98–117), depicting a tetrastyle temple with Artemis Anaitis standing
within, after: Kurth 2020, no. 105
Fig. 8. Bronze (AE22) coins from Apameia, Phrygia, semi-autonomous issue (AD 138–161), depicting the cult image of
Artemis Anaitis, with supports surmounted by birds, after: Babelon 1898, no. 5694
2021). Some images of the Anahita statue on the
coins resemble those of Artemis of Ephesus, often
accompanied by two stags at her sides.
It is important to mention the coins from Maeo-
nia. In two cases, identification as Anahita is ques-
tionable, since the coin bearing the bust of Em-
peror Caracalla (Kurth 2020, no. 134) more like-
ly depicts the cult statue of Kore, and the coin
with the bust of Emperor Nero shows torches in
her hands, instead of supports in the form of dots
(Amandry et al. 2014, no. 3013). Therefore, these
images most likely represent Hecate.
In addition, it should be noted that according
to the inscriptions from Philadelphia, the god-
dess retained her original name Άναΐτις, often pre-
fixed by Θea, Μήτηρ or Άρτεμις, although her cult
seems to have lost much of its Iranian character.
The highest number of dedications addressed to
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Fig. 9. Bronze (AE35) coin of Hypaepa, Lydia (AD 161–180), with countermarks depicting the statue of Artemis Anahita,
after: Kurth 2020, no. 139
Anahita, mostly dating from the 2nd and 3nd centu-
ry AD, comes from Maeonia, and contains Κυρία,
Μήτηρ or Άρτεμις Αναίτις. The most notable fea-
ture of Anahita’s rural cults in Maeonia is her com-
plete integration into the local Anatolian pantheon:
her Maeonian paredroi are not Iranian, but strictly
local deities — Apollo, Men and Sabazius, whom
she dominates in their shared shrines (Riсl 2002,
p. 207).
Finally, it should be emphasised that the cult
image of Anahita was also used as a countermark
on coinage (fig. 9). We will not be able to establish
the reasons for the countermarking of provincial
coins. This could have occurred in cases of mon-
etary reform, to extend the circulation of coins,
to integrate them into new systems, or for politi-
cal reasons. Countermarking was always a cheap-
er alternative to withdrawing coins, melting them
down, and replacing them. In most cases, either
the bust of Tyсhe or letter symbols were used as
countermarks in the province. The figure of Ana-
hita is of particular significance because her statue
appears as a countermark. In some instances, her
image and status seem to have outlived the original
myth, cult, or even the historical circumstances of
the goddess’s introduction into Anatolia.
Separate attention should be paid to the figure
of the Persian Diana (Artemis Persika) in the prism
of numismatic material. Such a plot appeared ex-
tremely rarely — on coins of Hypaepa (in the form
of a head with a bow over his shoulders (Tekin
2012, 271)) and Hierocaesarea in Lydia (with a
bust of Marcus Aurellius and a full-length statue of
the goddess in the middle of the temple (Babelon
1898, no. 5008)). The iconography of the goddess
as the Persian Diana is extremely complex due to
the lack of confirmation in the legend of the coin
of the name of the represented person. From the at-
tributes and deer around the figure of a young girl
in a chiton, but in an unconventional pose for Arte-
mis, it can be assumed that this is the Persian ver-
sion of the goddess. For example, on coin with bust
of Nero shown Artemis Persika standing facing be-
tween two stags, right hand raised to her quiver (Ba-
belon 1898, no. 5004; Kurth 2020, no. 66). In an-
other case, Magistrate P. Sex. Philippos in Hiero-
caesarea placed a complex composition on a coin
with a bust of Commodus, where Artemis Persika is
standing in a biga left, turning to her right, clasping
hands with Tyche, turreted, standing left before her
and holding a rudder; on the left Perseus, standing
front, looking right, holding harpa and the horses'
reins (Kurth 2020, no. 105).
Thus, the figure of the Persian Anahita, combined
with the hypostasis of local female deities, and most
importantly, with the figure of Artemis, became an
important part of the worldview of the urban popula-
tion of Lydia. The importance of studying the cult of
Anahita lies in the fact that she and Mithras became
the only Persian deities who were revered by the Ro-
mans.
The coins combine features of archaeological
and iconographic sources, and therefore their sig-
nificance is undeniable. City magistrates, following
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importance in the region and to exert influence on
the Roman administration. This is clearly evident
from written sources, especially Tacitus’ Annals.
The reigns of the Antonine and Severus dynasties
were a time of reinterpreting meanings and of the
formation of a local tradition by local elites, based
on indigenous deities and associated symbolism.
The reasons for this phenomenon are not fully un-
derstood, but it was in the 2nd–3rd centuries AD that a
“renaissance” of anachronistic, very ancient deities
took place in the province. Why did magistrates of
Greek origin, under Roman rule, consciously select
a goddess of Persian origin for self-presentation?
What processes are reflected in the “obsolescence”
of cultural tradition, and for what purpose were these
“searches for the source” publicised? Perhaps it was
to attract economic flows, perhaps to assert cultural
dominance, or perhaps to distinguish themselves
from the cultural trends of the era.
Received: : 24.03.2025
Accepted for publication: 23.09.2025
Published: 28.06.2026
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a certain policy of self-presentation for local market
participants, included well-understood figures of
gods, phenomena, or monuments. Debate continues
regarding for whom and by whom the “selection” of
motifs and deities was made, and to what extent it
was influenced by the local Roman administration.
Nevertheless, during this period, Artemis Anaitis
became one of the symbols of local identity. The
magistrates of Hypaepa, Sardis, Maeonia, and Phil-
adelphia used a highly archaic image of the goddess
to represent good neighbourly relations, the affirma-
tion of the right to perform imperial worship, city
alliances, and the veneration of the demos or boule.
First and foremost, this concerns opposing, depart-
ing from, or copying the image of Artemis of Ephe-
sus as the principal standard for visualisation of the
symbol of fertility and care. Although the region
was familiar with the type of goddess known as the
Great Mother, Cybele, the emphasis in the case of
Artemis Anaitis was not on Phrygian roots, but on
Persian traditions and Greco-Persian heritage. The
“invention” or rediscovery of a very ancient dei-
ty was necessary to enhance the city’s image and
ISSN 0235-3490 (Print), ISSN 2616-499X (Online). Археологія, 2026, № 240
Tarn, W. W. 2002. Alexander the Great. II, Sources and
Studies 2. Cambridge; New York: Cambridge University
Press. Available at: https://archive.org/details/dli.pahar.2882
[Accessed: 20 July, 2024].
Tekin, O. 2012. Sylloge Nummorum Graecorum. Turkey
7: Odemis Museum. 1. Roman Provincial Coins of Ionia, Ly-
dia and etc. Istanbul: n. p.
Wikander, S. 1946. Feuerpriester in Kleinasien und Iran,
Lund: C. W. K. Gleerup.
Wilamowitz-Moellendorff, U. V. 1924. Hellenistische
Dichtung in der Zeit des Kallimachos. 2. Berlin: Weidma-
nnsche Buchhandlung.
Williamson, G. 2005. Aspects of Identity. In: Howgego, Ch.,
Volker, H., Burnett, A. (eds.). 2005. Coinage and Identity in the
Roman Provinces. Oxford: Oxford Academic. p. 1-27. https://
doi.org/10.1093/oso/9780199265268.001.0001
Wójcikowski, R. S. 2010. Religia Achemenidów. In: Ol-
szaniec, S., Wojciechowski, P. (red.). Społeczeństwo i religia
w świecie antycznym. Toruń: Wydawnictwo Naukowe Uniwer-
sytetu Mikołaja Kopernika, p. 9-18.
Wright, J. H. 1895. A Votive Tablet to Artemis Anaitis and
Men Tiamu in the Boston Museum of Fine Arts. Harvard Studies
in Classical Philology, 6, p. 55-74. Available at: https://www.js-
tor.org/stable/pdf/310355.pdf [Accessed: 20 July 2024].
Анастасія Ю. Баукова
Кандидат історичних наук, Доцент кафедри археології та історії стародавніх цивілізацій, Львівський національний
університет імені Івана Франка, ORCID: 0000-0002-1636-981X, anastasiya.baukova@lnu.edu.ua
АРТЕМІДА АНАЇТА. ПЕРСЬКИЙ СЛІД В КУЛЬТУРІ ТА ІДЕНТИЧНОСТІ РИМСЬКОГО МІСТА
Духовне життя будь-якого суспільства є цікавою і складною темою для дослідження. Особливо коли йдеться про заселені
здавна території чи території перетину кількох історичних традицій. Зміна історичних епох та державних утворень,
об’єктивні обставини змін клімату та природні катаклізми так чи інакше відбиваються на світогляді мешканців регіону, і,
як слушно зауважував Террі Пратчетт, боги не помирають. Вони просто перетворюються на примарні голоси чи зноски в
підручнику з історії релігії. Old gods do new job. Феномен людської культури показує дивовижну гнучкість і тяглість первісних
вірувань. Пантеон грецьких богів, незважаючи на свою раціональність, особливо в римський час все ще зберігав питому
частку тотемізму та анімізму. Яскравим прикладом цього є постать Артеміди, богині, чиє походження, значення, функції
та візуалізація вкрай різнилась від території, етнічної приналежності віруючих та відрізку часу. Територія Анатолії мала
складну політичну історію, наслідком чого стало також і поширення різних культурних традицій. Довготривале панування
персів в регіоні призвело до поширення культу Анаїти, а міста Лідії стали центрами вшанування богині, знаної в римський
час як Діана Перська Артеміда-Анаїта. Археологи поки що не віднайшли статуй чи залишків храмів, які б можна було
твердо ідентифікувати як центри вшанування богині, однак нумізматичні джерела містять іконографічні відомості з цього
питання. Привертає увагу факт звернення до постаті Анаїти, давнього перського божества в часи династій Антонінів та
Северів. По-друге, вражаючим є і звернення не до елліністичної моделі показу Артеміди, а до дуже архаїчного, прадавнього
зображення, близького до статуї Артеміди Ефеської. Монети міст римської провінції Азія показують як Артеміда Анаїта
стає символом місцевої ідентичності. Магістрати Гіпайпи, Сард, Філадельфії використовують зображення статуї богині
для показу таких важливих явищ, як добросусідські відносини, підтвердження права імператорського культу, союзи міст
та пошанування демосу чи буле. Зауважимо, що, хоча в регіоні був відомий тип богині — Великої Матері, Кібелли, однак
у випадку Артеміди Анаїти акцент чомусь був зроблений не на фрігійські корені, а на перські традиції греко-перської
спадщини. «Винахід» чи віднайдення (повернення) дуже старого божества був потрібним для посилення іміджу й значення
міста в регіоні та впливу на римську адміністрацію.
К л ю ч о в і с л о в а: римська провінція Азія, Артеміда, Анаїта, давньогрецька релігія, перська релігія, монети, архео-
логія.
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antycznym. Toruń: Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika, p. 9-18.
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| id | arheologia-com-ua-article-448 |
| institution | Chemistry, Physics and Technology of Surface |
| issn | 2616-499X |
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| language | English |
| last_indexed | 2026-08-07T01:06:23Z |
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| publisher | Institute of Archaeology NAS of Ukraine |
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| spelling | arheologia-com-ua-article-4482026-07-07T18:28:47Z Artemis Anahita. Persian Trace in The Culture and Identity of the Roman City Артеміда Анаїта. Перський слід в культурі та ідентичності римського міста Baukova, A. Yu. Roman province of Asia, Artemis, Anahita, Greek religion, Persian religion, coins, archaeology. римська провінція Азія, Артеміда, Анаїта, давньогрецька релігія, перська релігія, монети, археологія. The article analyses historical sources, mainly Greek and Latin, on the goddess Artemis Anahita, of Persian origin, who became an important part of the urban culture of several cities in Asia Minor during the Hellenistic and Roman periods. In terms of functions and visual representations, the Persian goddess Anahita was incorporated into the Greek worldview under the “appearance” of Artemis, not in the iconography of the well-known Hellenistic statue by Leochares, but in a form similar to the statue of Artemis of Ephesus. During the second and third centuries AD, the magistrates of Sardis, Hypaepa, and Philadelphia adopted this goddess as one of the symbols of their cities. Coin types featuring Artemis Anahita appeared not only on issues of autonomous minting but also alongside the busts of emperors. Thus, numismatic sources reveal the visual representation and function of the goddess in maintaining the local identity of city elites of the Roman provinces in Asia Minor. Духовне життя будь-якого суспільства є цікавою і складною темою для дослідження. Особливо коли йдеться про заселені здавна території чи території перетину кількох історичних традицій. Зміна історичних епох та державних утворень, об’єктивні обставини змін клімату та природні катаклізми так чи інакше відбиваються на світогляді мешканців регіону, і, як слушно зауважував Террі Пратчетт, боги не помирають. Вони просто перетворюються на примарні голоси чи зноски в підручнику з історії релігії. Old gods do new job. Феномен людської культури показує дивовижну гнучкість і тяглість первісних вірувань. Пантеон грецьких богів, незважаючи на свою раціональність, особливо в римський час все ще зберігав питому частку тотемізму та анімізму. Яскравим прикладом цього є постать Артеміди, богині, чиє походження, значення, функції та візуалізація вкрай різнилась від території, етнічної приналежності віруючих та відрізку часу. Територія Анатолії мала складну політичну історію, наслідком чого стало також і поширення різних культурних традицій. Довготривале панування персів в регіоні призвело до поширення культу Анаїти, а міста Лідії стали центрами вшанування богині, знаної в римський час як Діана Перська Артеміда-Анаїта. Археологи поки що не віднайшли статуй чи залишків храмів, які б можна було твердо ідентифікувати як центри вшанування богині, однак нумізматичні джерела містять іконографічні відомості з цього питання. Привертає увагу факт звернення до постаті Анаїти, давнього перського божества в часи династій Антонінів та Северів. По-друге, вражаючим є і звернення не до елліністичної моделі показу Артеміди, а до дуже архаїчного, прадавнього зображення, близького до статуї Артеміди Ефеської. Монети міст римської провінції Азія показують як Артеміда Анаїта стає символом місцевої ідентичності. Магістрати Гіпайпи, Сард, Філадельфії використовують зображення статуї богині для показу таких важливих явищ, як добросусідські відносини, підтвердження права імператорського культу, союзи міст та пошанування демосу чи буле. Зауважимо, що, хоча в регіоні був відомий тип богині — Великої Матері, Кібелли, однак у випадку Артеміди Анаїти акцент чомусь був зроблений не на фрігійські корені, а на перські традиції греко-перської спадщини. «Винахід» чи віднайдення (повернення) дуже старого божества був потрібним для посилення іміджу й значення міста в регіоні та впливу на римську адміністрацію. Institute of Archaeology NAS of Ukraine 2026-06-27 Article Article application/pdf https://arheologia.com.ua/index.php/arheologia/article/view/448 10.15407/archaeologyua2026.02.029 Arheologia; No 2 (2026): Arheologia; 29-41 Археологія ; № 2 (2026): Археологія; 29-41 Археология; № 2 (2026): Arheologia; 29-41 2616-499X 0235-3490 en https://arheologia.com.ua/index.php/arheologia/article/view/448/460 Copyright (c) 2026 Arheologia https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode.en |
| spellingShingle | римська провінція Азія Артеміда Анаїта давньогрецька релігія перська релігія монети археологія. Baukova, A. Yu. Артеміда Анаїта. Перський слід в культурі та ідентичності римського міста |
| title | Артеміда Анаїта. Перський слід в культурі та ідентичності римського міста |
| title_alt | Artemis Anahita. Persian Trace in The Culture and Identity of the Roman City |
| title_full | Артеміда Анаїта. Перський слід в культурі та ідентичності римського міста |
| title_fullStr | Артеміда Анаїта. Перський слід в культурі та ідентичності римського міста |
| title_full_unstemmed | Артеміда Анаїта. Перський слід в культурі та ідентичності римського міста |
| title_short | Артеміда Анаїта. Перський слід в культурі та ідентичності римського міста |
| title_sort | артеміда анаїта. перський слід в культурі та ідентичності римського міста |
| topic | римська провінція Азія Артеміда Анаїта давньогрецька релігія перська релігія монети археологія. |
| topic_facet | Roman province of Asia Artemis Anahita Greek religion Persian religion coins archaeology. римська провінція Азія Артеміда Анаїта давньогрецька релігія перська релігія монети археологія. |
| url | https://arheologia.com.ua/index.php/arheologia/article/view/448 |
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