The Alexander Sarcophagus, a royal sarcophagus containing the characteristic elements of the transition from the Late Classical Period to the Hellenistic Period, was unearthed in 1887 during excavations carried out by Osman Hamdi Bey in the Royal Necropolis of Sidon (present-day city of Saida in Lebanon). Brought to the Istanbul Archaeology Museums, this sarcophagus has remained one of the museum’s most important pieces ever since. Made of high-quality limestone or a marble-like material, the sarcophagus stands out for its craftsmanship and the multi-layered iconographic elements on its surface. Although figures resembling Alexander the Great appear in some of the reliefs on the work, there is strong evidence that the sarcophagus was actually commissioned for King Abdalonymos of Sidon.
Alexander Sarcophagus, Istanbul Archaeology Museums (Photo: Nazlı Kemerkaya)
History
The Alexander Sarcophagus dates to the late 4th century BC, a period reflecting the turbulent political environment of the Eastern Mediterranean basin. During this time, interactions between the Persian Empire and the Greek city-states reached their peak, culminating in the campaigns of Alexander the Great. City-kingdoms like Sidon experienced numerous cultural and artistic influences simultaneously. The fact that the sarcophagus features both Greek and Persian elements is seen as a concrete example in art of the political and economic relationships of the period.
The discovery of the sarcophagus began with an observation by a local man named Mehmet Şerif. While working on his land in Ayaa, about half an hour from Saida, Şerif noticed a cave-like entrance at the bottom of a well on March 2, 1887, and informed Sadık Bey, the Kaymakam (sub-governor) of Saida. Officials inspected the area, prepared a report, and sent it to the Sublime Porte (Bâb-ı Âli) and the Imperial Museum (Müze-i Hümâyûn). At that time, Osman Hamdi Bey was serving as the director of the Imperial Museum. Recognizing the importance of the report, he promptly made preparations to travel to Saida.
Since Osman Hamdi Bey first needed official permission to conduct excavations in Saida, he requested the sultan’s authorization and funding in order to transport the most significant finds to the Imperial Museum. Sultan Abdülhamid II responded positively to this request, providing the necessary financing and excavation permit. As a result of the excavations initiated under this authorization, 22 royal sarcophagi were unearthed from the site. Among the sarcophagi found, the oldest example is the “Tabnit Sarcophagus,” an anthropoid (human-shaped) form used by Egyptian pharaohs. Other significant artifacts, such as the Satrap Sarcophagus, the Lycian Sarcophagus, the Sarcophagus of the Mourning Women, and the Alexander Sarcophagus, were also transported to Istanbul. Particularly, the Alexander Sarcophagus—regarded among the masterpieces of archaeology—attracted great attention.
Plan and cross-section prepared by Osman Hamdi Bey after the excavation work. The Alexander Sarcophagus is in the lower center. (Photo: Nazlı Kemerkaya, Istanbul Archaeology Museums)
Characteristics
As one of the largest sarcophagi in the world, this piece weighs 25 tons and is located in Tomb Chamber No. 3 of the Sidon Royal Necropolis. The sarcophagus consists of a main vessel in the form of a boat (or trough) and a lid that matches it. Measuring 2.12 x 3.18 x 1.67 meters, it was produced from the renowned Pentelic marbles of Greece; originally, it was painted, though some of the paint has worn away over time. Its pedimented roof-like lid showcases the unique architectural features of the work.
Paint remnants on the reliefs in the pediment on the short side (Photo: Nazlı Kemerkaya)
The most striking aspect of the sarcophagus is the battle scene on one of its long faces, depicting the conflict between the Persians and the Greeks. It is believed that this depiction represents the Battle of Issus in 333 BC, during which Alexander the Great secured victory and opened the doors of Phoenicia and Syria. As a result of this victory, the fate of Abdalonymos—thought to be the owner of the sarcophagus—changed, leading him to become the king of Sidon.
Depictions on the Sarcophagus
Although it is called the “Alexander Sarcophagus,” this piece actually does not belong to Alexander the Great. Due to its chronological proximity, it is considered to belong to King Abdalonymos of Sidon. The reason it is known by this name is that figures of Alexander appear in the scenes carved on it. Even though this might initially seem like a significant error, once it was understood that the piece did not belong to Alexander, it was accepted as a minor detail; because of its renown, the artifact continued to be referred to by the same name.
Two main themes are depicted on the Alexander Sarcophagus. The first features fierce battle scenes between the Macedonians and the Persians. The second portrays a hunt scene in which Macedonians and Persians participate together, hunting deer, panthers, and lions. These two themes are viewed as major visual narratives reflecting the political and social structure of the era.
On one of the sarcophagus’s large faces, the Battle of Issus, in which the Macedonian King Alexander the Great defeated King Darius III of Persia and his army, is depicted. At the forefront of this crowded composition is Alexander the Great, the first figure to catch the viewer’s eye.
Battle scene on the long side (Photo: Nazlı Kemerkaya)
On the other large face, there is a hunting scene; here, it is shown that the Persians and Romans participate together in hunting, which the Persians greatly valued. The hunt scene takes place in a setting akin to a garden or park where the Persians cultivated land and hunted animals; a total of eight figures are shown, three of whom are on horseback.
Hunting scene on the long side (Photo: Nazlı Kemerkaya)
One of the smaller faces appears to continue the battle scene. Arranged in three groups, the scene stands out with its realistic details. In the upper part of the same face, within the pediment, a similar battle scene is depicted, where all the figures are portrayed as Roman in origin.
Battle scene on the short side (Photo: Nazlı Kemerkaya)
On the other small face, the hunting scene is repeated, though this time with all characters depicted as Persians. The presence of a shield in the hunter’s hand is considered an important detail indicating that a shield was part of Persian hunting attire. These two principal groups of scenes (battle and hunt) are significant not only in portraying the king’s heroism, bravery, and strong leadership but also in documenting the lifestyle of the elite class of the period.
Hunting scene on the short side (Photo: Nazlı Kemerkaya)
