Description of the Madara Horseman relief - part II

The subject of the victorious ruler is an old one. The might of the ruler was depicted with various images of lion-killing in Egypt, Assyria and particularly in Persia during the period of the Achaemenids. Gradually this image was related to a particular victorious event. Thus this scene from the 6 th Century involving also a dog only ostensibly represents hunting. What it expresses is in fact the triumph of the victorious ruler.

In Early Byzantine art such scenes were woven in tapestries (6 th Century) and there exists an ivory-carving with a similar triumphal scene from the 8 th Century. But the scene on the Madara rock is unique in Europe in its monumentality. Some details and the inscriptions clearly indicate the time of its execution - the beginning of the 8 th Century - and relate it to the events of 705 and the Bulgarian Khan Tervel, who at that time was crowned as Caesar.

The rider in the Madara relief is seated on a saddle with a back - a type of saddle known from certain Eastern pictures. The outlines of a thick rug are visible under the saddle. The horseman wears a wide cloak with clearly marked folds and pattern. A long object sticks up behind his left shoulder - probably a bow, while a quiver hangs by his right leg. The right hand of the rider holds the spear, which is piercing the neck of the lion, and the left hand holds the rein. This is a ritual gesture, often seen in Eastern art. The right leg of the horseman, shod in a soft shoe with pointed top, is in a large metal stirrup. This is a detail which appeared in Europe only in the 6 th Century, borrowed from Eastern lands. This particular item is sound proof that the Madara horseman cannot be dated earlier than the 6 th Century, i. e. the 6 th Century is the terminus post quem. Of course many other elements and the general style of the work also confirm that the monument was carved after the 6 th Century. The relief shows some of the spirit and devices of early medieval art, in which expressiveness and a certain formality dominated.

The horse has particularly large forms. A similar approach to the figure of the horse is observed in a carving on a stone block found in Pliska - the first Bulgarian capital - the horse has a very broad chest and large flanks which emphasize the strength of the animal. The head of the horse is turned away from the rock. This is a decorative device which is very popular in Near-Eastern art - the head is carved full-face and appears stuck to the neck, which is in profile. There is a hole in the brow probably for some ornament.

The figure of the horse is balanced by a splendid curly tail. A wide strap encircles the back part of the horse below the tail.

The figures of the two animals are opposed to one another with great skill. The lion is still alive but in agony, his head is stretched forwards and downwards between his two legs with spread toes clawed into the earth. The dog is running forwards and rushes after the horseman.

However, the treatment of the two animal figures uses well known decorative techniques - the carving of the paws of the animals, the teeth of the dog with the hanging tongue, the mane of the lion.

The elements of this skilful composition are arranged in such a way as not to distract but emphasize the impact. The sculpture offers an original combination of dynamic and static character, of formal gestures and realistic details. The image is of a particular event but it implies a sense of triumph beyond the limits of time.

But although this monumental work of art combines the concrete with the abstract the inscription hewn in the left and right sides of the composition provided curt, precise and simple information about the event and some of the circumstances related to it. The inscription is in Greek with quite well formed letters seven to twelve centimetres high. Unfortunately entire parts of text, as well as some words and letters are missing on both sides. The translation of the preserved text is as follows: "... the Emperor Justinian concluded an agreement and tried ... the Bulgarians... and came to Tervel. My uncles in Thessaloniki and Kisin did not believe the Rhinotmet Emperor and left him. His... one ... with an agreement with Tervel the Archont of the Emperor gave... five thousand ... with me the Emperor won well".

The inscription was hewn together with the relief on its both sides. There are four more letters which belong to it and are probably part of a name beginning with Dam or Dan. The letters are hewn in a well-flat-tened surface under the right leg of the horse. As they are separate from the rest of the text it is possible that this is part of the name of the sculptor, Daniel or Damianos or Damasos. But this is only a supposition. The name of this great sculptor from the Early Middle Ages remains unknown.

It is, however, very possible that this was indeed the name of the sculptor. Such a master would no doubt have the self-confidence to sign his name after creating a memorable work.

This first inscription at the Madara horseman was the beginning of many centuries of Bulgarian annals in stone. Soon after it the Bulgarian ruler Kormersii orderer the inscribing of another text under the relief. The event marked was also connected with the relations with Byzantium. The future of the young Bulgarian state was decided on the border with Byzantium. Today, when we consider these events from the centuries-long perspective it is even clearer that the relations between the two states were decisive for the future of all of South-East Europe. This was the dawn of the new history of the continent.

The second text tells of events which occurred during a longer period of time. The last that are mentioned date from 756. The inscription, therefore, has been cut after this date. Treaties, debts to be repaid in gold, conditions whose non-appliance will lead to war, are mentioned. Research and comparison of facts, mentioned in other sources, give us grounds to suppose that this inscription tells about some of the obligations which Byzantium had towards Bulgaria in return for the assistance rendered by the Bulgarian army to Emperor Leo III (717 - 741) during 718 when the Arabs laid siege to Constantinople. The second part of the inscription mentions facts about relationships with Byzantium from later times (about 756 A. D.).

A third inscription has also been cut in the surface below the relief to the right of the second. It is shorter and is rather damaged. There the name of the Bulgarian Khan Omurtag (814 - 831) is mentioned. Under his rule a 30-year peace with Byzantium was concluded and large construction activities were carried out in Bulgaria. The partially-preserved letters of this inscription do not permit understanding of what events are mentioned - some violated treaty, negotiations, demands for assistance. But this is clearly a text which reports of important relations of the state with another state.

The majority of famous Proto-Bulgarian epigraphic texts on stone, mainly on columns, date from the time of Khan Omurtag. Some of them are related to buildings, others commemorate people close to the Khan.

One large inscription commemorates the peace treaty with Byzantium. The tradition of these texts continued after Omurtag till the creation and acceptance of the Cyrillic alphabet. Some of the first Bulgarian inscriptions on stone in the Cyrillic alphabet are even considered a continuation of these traditions.

However, these traditions began with the texts on the Madara relief. These three texts not only mark the beginning of the historic annals but are related to the images and meaning of the relief, of the victorious scene presented. The existence of a state acquires its complete meaning only through its international recognition. And these texts mark precisely the events connected with the international recognition of the state, with its introduction into international relations as a respected partner.