A Bone Pin From Kazakl’i-Yatkan/Akcha-Khan-Kala, Chorasmia* Fiona Kidd (University of Sydney, Sydney, Australia) INTRODUCTION As the second largest archaeological site in ancient Choras- mia, and with increasing evidence of its signifcance, Kazakl’i- yatkan 1 is one of the most remarkable monuments of the pre-“Kushan” period in this region of modern northwestern Uzbekistan. 2 Located on the right bank of the Amu Darya in the Tash-k’irman oasis of eastern Chorasmia, the upper enclo- sure of Kazakl’i-yatkan was heavily fortifed and included sev- eral monumental buildings. At the centre stood an impressive monument interpreted as a mausoleum. 3 Recent excavations have revealed another remarkable building which, on the basis of current excavations, appears to comprise a large interior courtyard, perhaps with a double portico supported by stone column bases, and clearly associated with cult practices. Te courtyard is surrounded by a corridor decorated with wall paintings showing portraits and a procession of animals and humans. Moulded gold leaf and copper have also been found during excavation of the building. Te pin discussed in this paper was found in an area of heavy destruction—or col- lapse—outside the central towers of the western wall of this building. 4 Recent C14 analyses 5 indicate that the present building probably fourished between the frst century BCE and the frst century CE, afer which it gradually fell into dis- use. Te terminal dating of the context in which the pin was found is difcult to ascertain. It is probable that material from the area of destruction or collapse belongs to a period of aban- donment, dated no later than the second century CE. Small and large statuary, anthropomorphic ossuaries, wall paintings and ornamented ceramic vessels demonstrate a rich repertoire of visual art in ancient Chorasmia dating from the fourth century BCE, and which reached an apogee at the “Kushan”-period site of Toprak-kala. Yet, despite this fourish- ing indigenous culture, current understanding of the place of Chorasmia in wider Central Asia remains nebulous. It is gen- erally assumed that Chorasmia had close relations with the surrounding nomad populations, although concrete evidence of these relations is rare. More specifcally, several scholars have posited that there was contact between Chorasmia and Parthia during the fnal centuries BCE and the frst century CE. 6 However, concrete evidence of this association is similarly dif- fcult to substantiate. Analysis of the bone pin from Kazakl’i- yatkan ofers renewed potential to explore the foreign relations of ancient Chorasmia in the broader context of Central Asia. DESCRIPTION OF THE PIN Te pin measures 11.9 cm in length and features a carved human fgure (Fig. 1a-d) on the shaf. Te fgure stands on a double pedestal, which forms the transition to the tine. On top of the head is a knob-like feature, while the face is sur- rounded by thick hair. A marked ridge—possibly a torque or the rounded neckline of a garment—encircles the neck of the fgure, obscuring the shoulders. A stylised garment envelops the body from the neck to the legs. While there are no clear indications of gender, the shape and facial features suggest a female. Te pin was carved from a single piece of bone and fnished with polishing. Despite the smooth and well formed tine, the terminal fgure appears schematic and coarse. Te head, only slightly smaller than the torso, is too large for the body. Te right side of the fgure is almost straight, except for the inden- tation marking the neck. While size may have limited the rep- resentation of detailed elements of costume, it is also possible that the coarse carving refects the inexperience of the artisan. It is similarly possible that the artisan mechanically copied from another artefact, rendering schematically details of potential iconographic value. 7 COMPARATIVE EVIDENCE Worked bone objects are well known from Chorasmia 8 and surrounding regions, 9 but the Kazakl’i-yatkan pin remains unique in Chorasmia. Although the schematic carving of the terminal fgure cautions against over-interpretating diagnostic elements, several features may be analysed individually to bet- ter understand the art historic context from which the pin originated. THE HAIR OR HEADDRESS Te hair or headdress of the fgure comprises two parts: a slightly elongated circular-shaped top knot or knob that sits on the crown of the head, and hair that is drawn back from the sides of the face, the strands shown as incised horizontal lines. Te area on the top of the head, between the protruding knob and the drawn-back hair, is awkwardly fat. Te coarse and