1969 年 12 巻 1-2 号 p. 93-106,173
Here the author treats two Iranian horse furnitures: I—Decorated lady's saddle and II—Horse blanket of the Kashgai nomads. Both of these are by no means antiques, nor objets d'art, but are valuable because of their rarity among Japanese collections.
I—The saddle is reinforced with white fringes of bones and covered with leather of black and green in colour. The green leather is dotted with gilt rivets in the shape of flower and all of them display an exquisite colour effect, common to European saddlery of Mediaeval Age, which must have been greatly influenced by the former during the Crusades.
The style of this saddle may be classified as half-West and half-East, with its seat-bars of wood on both sides in the style of rucksaddle. Defect of any device for hanging stirrups denotes its lady's use for side-riding, perhaps on ponnies or donkeys.
II—The horse blanket, or numdah, belongs to the same category with those depicted on the horse-shaped painted potteries, called ‘rhyton’ by Ghirshman, in Archaeological Museum of Teheran: one from Azerbaijan, another from Susa. The tamga on the horse's neck in the form of ‘trident’, or ‘fleur de lis’, is a fecundity symbol, as Dr. Ph. Ackermann explains it ‘labia and clitoris’.
The horse-blanket is not for the use of riding, as is shown on the Assyrian walls. Originally it is for keeping warmth, but eventually it turned into ornamental and ritual use, as is seen on the clay potteries cited above.
Lions and holly trees found among the bordering patterns are of Oriental origin. But they display striking resemblance to those found among the Pazylk and Noin Ula carpets respectively.
Especially interesting is the form of those lion patterns with remarkable long necks, which reminds us of the lion on the Scythian pole-top in Hermitage, 4th century, B. C. Those facts may denote that the present example belongs to the great tradition of the steppe nomads, rather to that of Ancient Orient.