Rise of the Scythian [dt./OV]. ()IMDb 6,21 Std. 44 MinX-Ray In einer Zeit, in der einzelne Zivilisationen ausgelÃ¶scht wurden, werden die stolzen. Die Skythen sind ein Volk aus stolzen Kriegern, welche als Nomaden skrupellos mordend durch das Land ziehen. Als sie die Familie des Soldaten Lutobor entführen, versucht der Anführer der Skythen, seinen Krieger Weasel zu ermorden. Doch als Weasel. Rise of the Scythian Kritik: 15 Rezensionen, Meinungen und die neuesten User-Kommentare zu Rise of the Scythian.
The Scythian Statistiken
Die Skythen sind ein Volk aus stolzen Kriegern, welche als Nomaden skrupellos mordend durch das Land ziehen. Als sie die Familie des Soldaten Lutobor entführen, versucht der Anführer der Skythen, seinen Krieger Weasel zu ermorden. Doch als Weasel. Blutiger Blick in die Geschichte "Rise of the Scythian" ist wie "", nur roher. Von Thomas Badtke. georgesbrassens-gb.eu Lutoboor, Soldat des Fürsten, der zum. georgesbrassens-gb.eu - Kaufen Sie Rise of the Scythian günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Rise of the Scythian [dt./OV]. ()IMDb 6,21 Std. 44 MinX-Ray In einer Zeit, in der einzelne Zivilisationen ausgelÃ¶scht wurden, werden die stolzen. Aleksey Faddeev muss sich in Rise of the Scythian mit seinem Feind verbünden, um im Kampf gegen die berüchtigten Krieger der Skythen zu bestehen. Rise of the Scythian Kritik: 15 Rezensionen, Meinungen und die neuesten User-Kommentare zu Rise of the Scythian. Find Die letzten Krieger / Rise of the Scythian at georgesbrassens-gb.eu Movies & TV, home of thousands of titles on DVD and Blu-ray.
Blutiger Blick in die Geschichte "Rise of the Scythian" ist wie "", nur roher. Von Thomas Badtke. georgesbrassens-gb.eu Lutoboor, Soldat des Fürsten, der zum. georgesbrassens-gb.eu - Kaufen Sie Rise of the Scythian günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. In einer Zeit, in der einzelne Zivilisationen ausgelöscht wurden, werden die stolzen Krieger der Skythen zu Nomaden und ziehen skrupellos mordend.
Facebook Twitter. Give Feedback External Websites. Let us know if you have suggestions to improve this article requires login. External Websites.
Livius - Scythians. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree See Article History.
Scythian gold belt buckle with turquoise inlay, from Siberia; in the Hermitage, St. Get exclusive access to content from our First Edition with your subscription.
Subscribe today. Learn More in these related Britannica articles:. In the area of the lower reaches of the Dnepr, Dnestr, and Don rivers, rich Scythian graves have been excavated in the form of shaft and pit graves; in these, the deceased was….
The texts describe what to their authors appeared as barbarous customs in cultures they did not understand, but they also provide historic insights into the movements of different peoples and tribes during this….
They had attacked the kingdom of Bactria and subsequently moved into India. History at your fingertips.
Funerary sites with Scythian features also existed in the 5th and 4th centuries BCE within the territory of certain Greek cities.
At the end of the 6th century BCE, a new funerary rite appeared. Only representatives of the common people were buried in pits.
In addition, complex stone vaults were built, the building techniques appear to have been adopted from the Greeks. The main burial of a king was usually accompanied by burials of between three and ten persons who had formed part of his immediate entourage.
Burials of this kind have been recorded in 38 of the 40 largest burial mounds dating from the 4th century BCE. Apart from funerary sites, Scythian city-sites from this period have also been discovered.
Many of the earlier city-sites from the forest steppes had continued to exist while others were founded, for example, the site at Khotovskoe dating from the end of the 5th or beginning of the 4th century BCE and occupying an area of some 30 hectares.
The most prominent city-site from this period, however, was that at Kamenskoe on the Dnieper River in the steppe zone Grakov; Gavrilyuk, pp.
The city-site occupied an area of 12 square kilometres and it was protected by the rampart and the waters of the Dnieper and its tributary Konka.
The main occupation of the settled population was metal-working. The city-site of Kamenskoe was probably the largest supplier of metal items for nomadic Scythians.
Part of the population was probably engaged in agriculture. The dwellings built above ground measured approximately 10 x 20 meters and consisted of several rooms.
Oval and rectangular dugouts have also been found. Only a small part of the territory of the city-site was built over.
This town was probably not just a center of manufacturing but also a political center of Scythia. The territory, which had not been built up, could have been set aside for the headquarters of the Scythian king and his suite during their seasonal visits to the town.
It appears that in the 4th century BCE some of the Scythians were starting to adopt a settled agricultural way of life, which had formerly been typical only for the population of the forest steppes.
As a result, in the lower reaches of the Dnieper, apart from the Kamenskoe city-site, a number of fortified and non-fortified settlements grew up, in which the main occupation of the population was agriculture Gavrilyuk, pp.
Part of the settled population in the chora of Olbia was also of Scythian origin. Major changes took place in the material culture of the Scythians in the 5th and 4th centuries BCE.
In the second half of the 6th century BCE, the type of horse bridle used changed completely Figures 5, Bronze bits with stirrup-shaped ends disappeared and were replaced by iron ones with ends bent to form loops.
The cheek-pieces used in conjunction with these were of a new shape; they had not three, but two holes and were not attached to the bit, but inserted into the loops at their ends.
The cheek-pieces were made of iron and bronze. In the 5th century BCE, they had been in the shape of the letter S or the L turned over, but in the 4th century BCE these types were replaced by cheek-pieces in the shape of the letter C.
Cheek-pieces of this type were also found in the 5th century, but they were less common. Bows and arrows, as before, were the most common weapons Figure 6.
The shape and structure of the bow remained the same as before, while the shape of the gorytos changed slightly, as did the shape of the arrowheads used.
The old types gave way to tri-lobate and three-edged bronze arrowheads of elongated proportions with an inner socket or one that protruded slightly.
In the course of time, the shape of these arrowheads changed slightly, but this type remained in use for as long as Scythian culture was in existence.
The shape of spearheads also changed; their proportions became significantly more elongated. Iron akinakai were still being used, but the forms of their cross-guards and terminals had changed Figure 7.
In the 5th century, cross-guards for swords became thinner and claw-shaped terminals became widespread in the shape of two claws or horns.
In the 4th century BCE, most swords and daggers had a narrow cross-guard in the shape of a triangle with a notch in its lower edge and an oval terminal.
Cast helmets of the Kuban type were already no longer used at the beginning of the 6th century BCE. In the second half of the 6th century BCE, scale helmets were being used, which consisted of iron or bronze plates.
Helmets of Greek types were still more widely used; those encountered most frequently were Attic ones, but Corinthian, Chalcidic, and Thracian helmets were also used.
In the 4th century, besides Greek helmets, wide use was made of Greek greaves knemides. The armor used was, for the most part, local scale armor, consisting of iron or bronze plates.
In the 5th and 4th centuries terminals were being used, some of which appeared to be a development of the types from the preceding period.
Yet, the most widespread terminals were flat, with depictions of animals, animal-attack scenes and, on rare occasions, with anthropomorphic depictions.
Small bells were hung from terminals of this type. In the 5th century BCE, mirrors with a central handle disappeared and were replaced by mirrors with a flat handle at the side, with examples starting from the second half of the 6th century BCE.
In the 5th and 4th centuries BCE, anthropomorphic sculptures continued to be erected on burial-mounds, but their style had changed somewhat.
In the Scythian culture of the 5th and 4th centuries BCE, artifacts in the Animal Style were still widely used, but features of the style were changing; some of the old motifs had disappeared and replaced by new subjects and motifs Figure 8.
This can be explained partly by reference to internal developments and partly to external influences. A strong Greek influence was observed in Scythian art of the 4th century when a significant proportion of the examples of Scythian toreutics found in royal and aristocratic burials had been produced by Greek craftsmen.
Some of the elements in the material culture of the Scythians in the 5th-4th centuries BCE represent the development of objects from Early Scythian culture, but many of them had probably been brought in from the East.
The most convincing explanation for this is the assumption that a new wave of Eurasian nomads had come into the North Pontic region in the second half of the 6th century BCE.
The nomads of this new wave, after mingling with the local Scythian nomads had, most probably, given rise to this new culture Alekseev, , pp.
The last period in the development of Scythian culture, the Late Scythian culture, was the culture, which existed in the territory of the Crimea and the Lower Dnieper, mostly occupied by Scythians, at the end of the 3rd century BCE through to the 3rd century CE.
From the archeological point of view, this was a completely new culture that had little in common with the Scythian culture of the 4th century BCE.
Late Scythian culture took shape at the end of the 3rd and in the early-2nd century BCE as a fusion of Scythian cultural traditions with the traditions of the local population from the mountains of the Crimea, the Tauroi, and of the Greek population of the coasts.
The population of Scythia Minor was settled and its main occupation was stockbreeding, using distant pastures, and agriculture. Trade also played an important role; the Late Scythians acted as intermediaries between the Classical world and the barbarians of the steppes.
Neapolis was fortified with a defensive wall with towers and its terrain contained houses with stone and mud-brick walls. The density of the building varied substantially from one period to another.
Building techniques were in general those typical for Greek architecture, although several buildings were constructed carelessly.
Dugouts and other structures connected with barbarian traditions have also been found. A royal palace discovered in Scythian Neapolis, which dated from the 2nd century BCE, had been built in accordance with the rules of Greek architecture.
There were also statutes of several Greek deities erected here, from which the pedestals had survived bearing dedications in the Greek language Solomonik.
After the rout of the Scythian kingdom by Diophantes in the final decade of the 2nd century BCE, the royal palace was not rebuilt and Neapolis lost its metropolitan status but continued to be a major urban center.
From the beginning of the 1st century BCE until the end of the existence of Neapolis, there was, however, a complex of stone Greek-type buildings in its northern section.
It is possible that Neapolis remained a political center for at least some of the Late Scythians. In the second half of the 1st and up to the middle of the 2nd century CE, the appearance of the city underwent major change.
It had virtually no buildings left in it, although the defensive walls continued to exist and also cultic constructions have been recorded. This was probably connected with the replacement of the settled population by a nomadic one, which was using Neapolis as a fortified camp.
This change, together with the replacement of one kind of funerary rite by another and the appearance of new features in the material culture, make it possible to assume that the population had changed and that to some extent the Late Scythians were being assimilated by the Sarmatians; at the same time, there was a certain continuity to be observed from the previous period Simonenko, pp.
Between the last quarter of the 2nd and the middle of the 3rd century CE, Scythian Neapolis turned into a non-fortified settlement containing a few chaotically scattered buildings.
Apart from Scythian Neapolis, Late Scythian culture is well-known from the numerous settlements, both fortified and unfortified more than have been recorded and the necropoleis that accompany them.
A well-protected fortress was built there, which was constructed like Neapolis in accordance with the rules of Greek fortification only preliminary reports are published for now, cf.
Some of these settlements appeared on the sites of earlier Greek settlements, including the towns of Kalos Limen and Kerkinitis, and some were built from first principles.
Many of the coastal settlements were trading ports. Characteristic not only of Neapolis and Ak-Kaya but of these settlements as well was the combination of Greek architectural traditions and local ones.
Their material culture was close to that of the Late Scythian sites in the Crimea, but they were still more Hellenized and would appear to have been closely linked to Olbia, if not politically dependent on that city.
Late Scythian burials can be divided into two groups: those under burial-mounds and those deposited in flat necropoleis. Stone vaults were erected under burial mounds, in which burials went on taking place over a fairly long period; the number of deceased varied from a handful of individuals to a hundred and more.
Burials were deposited more frequently, however, in flat-grave necropoleis. Characteristics of necropoleis dating from between the 2nd century BCE to the 1st century CE are earth vaults, in which burials were deposited on many occasion they contained up to 40 skeletons.
The deceased were laid out on their back in an extended position. In the second half of the 1st and the first half of the 2nd centuries CE, the funerary rite underwent gradual change.
This has led certain scholars Gavrilyuk and Krapivina to regard some of the Late Scythian sites, such as the city-sites of the Lower Dnieper, as having been populated at least partly by Greeks.
The Scythians had no written language, therefore their non-material culture, including their mythology, religion, epics, and so on, can be pieced together only on the basis of indirect data, which vary as regards their veracity and informative possibilities.
Data of this kind are gleaned from the writings of Classical authors, from parallels found in other Iranian traditions, onomastic and archeological evidence, and so forth.
Although he mentioned the worship of Heracles and Ares, he did not include their Scythian names. Most of the names of the Scythian deities could be traced back to Iranian roots, some more convincingly than others.
Tabiti is usually regarded as the goddess of fire, Papaios as the ruler of the heavens, Api as the deity of the Waters and the Earth. Heracles would appear to have been regarded as the First Man, the forefather of the Scythians cf.
Ares, the god of war, is also set apart from the rest by Herodotus. According to him, the Scythians did not erect statues or altars or temples for their gods, with the exception of Ares on Scythian deities see: Bessonova, pp.
Sanctuaries of Ares were, according to Herodotus 4. Apart from the sacrifices of sheep or goats or horses usual in the case of other gods, human sacrifices were offered and to him alone.
Alekseev, They are often compared to shamans known among many peoples of Eurasia Meuli , but there are no grounds for their identification with shamans, despite the fact that they share a number of common characteristics.
According to Herodotus 4. In Scythian mythology, an important role was assigned to the myth about the First Man, the origin of men i.
This myth, which echoes in many respects myths of other Iranian peoples, has survived in several versions in the writings of a number of classical authors Hdt.
Each of the classes was linked with one of three levels in the Cosmos: the class of warriors, which also included kings, was associated with the upper world, the class of priests with the middle level, and that of producers with the lower one.
Royal power was considered sacred. Information supplied by a number of Classical authors makes it possible to assume that the Scythians had their own epic legends.
Thus, much of the Classical tradition regarding the Scythian rule in Asia can probably be traced back to a Scythian epic Ivantchik, b; idem, , pp.
Scythian art was mainly zoomorphic. The bodies of the animals were usually modeled using large surfaces, which came together at an angle. The most significant parts of animals horns of ungulates, claws, nostrils, and mouths of beasts of prey, the ears of both groups, the beaks of birds of prey, and the eyes of all three groups of animals were greatly exaggerated and often stylized.
Certain parts were sometimes complete with additional depictions of animals or their parts e. Despite the existence of local variations see, e.
The animals most frequently depicted in this style can be divided into three groups—birds, ungulates, and beasts of prey—and for each of them there are characteristic iconographic patterns.
They are only rarely depicted standing on straight legs. Beasts of prey, usually felines, are often depicted coiled round in a ring, and this constitutes one of the earliest and most typical images of the Animal Style.
They can also be found with their legs bent at an obtuse or a right angle. Within these groups it is only seldom possible to distinguish between species of animals e.
Ungulates, as a rule, are easier to identify; the most frequent images of them were those of deer, goats, and rams, while other species, including horses and elk—were only rarely depicted.
Images of fantastic creatures are not rare in Scythian Animal Style, but in most cases they have been adopted from elsewhere.
The most widespread of these are depictions of eagle-headed griffins. This image would appear to have been adopted in the Near East, and it is found mainly at sites reflecting early contacts with that region Kelermes ; later on, it is seldom found in proper Scythian art and in a distorted form.
It appeared again in the 4th century BCE under Greek influence. Lion-headed griffins also appeared at that time. This image was specifically Scythian and it does not appear to have been encountered outside the range of Scythian culture.
It is possibly the depiction of a xwarrah. The Scythian Animal Style appeared in Eastern Europe in a well established form together with Early Scythian archeological culture; none of its elements had been present in pre-Scythian cultures of the region.
The question of its origin is the subject of debate. Yet the more well-founded hypothesis is the suggestion that it took shape in the eastern part of the Eurasian steppes, partly under the influence of Chinese art.
It is borne out by the greater age of the eastern sites containing objects worked in the Animal Style Arzhan burial mound in comparison to the East European ones Jettmar; Kossack; Alekseev, , pp.
All the stelae known to us depict armed warriors, faces with large almond-shaped eyes, usually with mustaches but not beards, and, when it comes to anatomical details, arms are shown and also often phalli.
Usually torques and belts are depicted, sometimes helmets and also weapons such as swords, axes, gorytoi and occasionally whips.
Of particular interest is a group of six sculptures discovered in northeastern Iraq Boehmer. In general they are reminiscent of Early Scythian sculpture, but there are several significant differences, in particular in the presentation of the faces beards instead of mustaches and the position and portrayal of the hands.
It is possible that these sculptures belonged to a group of Scythians or Cimmerians, who had taken part in Near Eastern campaigns, settled in the area, and gradually lost its traditional culture.
Scythian art was subjected to major external influences at various times. The rich burials at Kelermes and in the Litoi burial mound contain, above actual Scythian and Near Eastern artifacts e.
These objects were probably made by Near Eastern craftsmen for Scythians. While adhering to their own traditions, they have, at the same time, taken into account the requirements of those commissioning their work.
A large proportion of the Near Eastern images was not assimilated into Scythian art and not subsequently reproduced.
Use of these, however, is impeded by the fact that the exact location and circumstances of their discovery are unknown, and it is impossible to be sure, not only whether they were found together, but also whether they all come from one and the same place or even are authentic Muscarella.
In the 5th century BCE changes took place in the Animal Style, which can partly be explained with reference to growing Greek influence and partly to internal developments.
It is possible that some innovations can also be explained by the arrival of a new wave of nomads from the east see above.
The depictions become less schematic and the eyes, ears, and mouths of the animals are portrayed in a more realistic way.
At the same time, certain parts of the bodies of animals and birds are depicted in a still more exaggerated way than before; sometimes they are stylized.
The beaks of birds, for instance, are depicted in the shape of a large spiral. In the forest steppes, depictions of elk become more common.
From the 5th century BCE onwards, scenes of animals fighting or tearing each other became widespread, probably under the influence of Graeco-Persian art.
Greek influence is also likely to have been the reason why plant motifs began to appear in Scythian art.
Changes also took place regarding the stelae erected above graves, which were least subject to Hellenization. The presentation of faces changed, eyes became rounded, mustaches only appeared rarely, while depictions of beards began to appear.
The shape of hands changed and also the way they were arranged; left hands would virtually always be holding a rhyton, swords would usually be arranged not in front of figures but at their sides, and gorytos shapes were modified as well.
In the 4th century BCE, there was a particularly marked increase in the influence of Greek art. The Animal Style went on being used, but art objects made either under strong Greek influence or simply by Greek craftsmen for Scythians became widespread.
This group included small items such as plaques and also the best-known examples of Scythian toreutics. These objects still incorporated elements of Animal Style, but in the main they exemplified traditions of Greek art.
Some of them were depictions of animals, but there was an especially large number of depictions of human beings, including scenes.
Usually the figures were Scythians, but in some cases there were purely Greek subjects for example, the history of Achilles.
Some art objects found in Scythian burials were purely Greek, not linked with Scythians, either as regards style or subject matter e.
Yet, at the same time, anthropomorphic depictions appear, which have clearly been fashioned by Scythians.
Objects made by Greek craftsmen were found in all royal and aristocratic burials of the 4th century BCE. Some examples of Scythian ceremonial weaponry made using a same matrix and virtually identical to each other have been found in several different burial-mounds.
They had been made at approximately the same time in a single workshop as special orders for a number of Scythian dynasts, or for Bosporan kings to be used as diplomatic gifts for Scythians.
Scabbards found in the Chertomlyk and Five Brothers 8 burial mounds and bought by the Metropolitan Museum of Art assumed to be from the Chayan burial mound are also virtual copies of each other Stähler.
Some scenes depicted on Greek metal objects can confidently be interpreted as illustrations of Scythian legends, known to us from written sources.
The frequent depictions of the anguiped goddess, the mother of the three brothers e. In Graeco-Scythian art of the 4th century BCE, there are also numerous reproductions of certain other scenes, which probably possess religious and mythological significance.
In one case a plate from Sakhnovka , this pair of figures has been placed in the center of a multi-figure composition, in which there is another pair of figures frequently reproduced, two Scythians drinking out of one and the same rhyton the so-called fraternity scene.
Other scenes as well may often have mythological or epic significance, but their specific interpretation is of a much more hypothetical nature the comb from Solokha, the bowl from Gaimanova Mogila, the vase from Chertomlyk, et al.
Anthropomorphic sculpture was the most conservative variety of Scythian art. The vast majority of sculptures from the 4th century BCE was in the Scythian tradition.
Yet Greek influence manifests itself most clearly in some sculptures of this period found in the Crimea Privetnoe, Chernomorskoe.
Another distinctive piece of Scythian war gear was the gorytos , a combined quiver and bow-case that was worn on the left hip and which faced to the rear.
As with all composite bows, there is a high probability that the Scythian bow was shot with a thumb draw. When shooting with a thumb draw, the arrow is placed on the right-hand side of the bow.
Having the arrows on the left hip for a right-handed archer, holding his bow in his left hand would normally be impossibly awkward, especially on a horse.
How could he retrieve an arrow with his right hand from a rear-facing quiver on the left? The author found that it was quite intuitive to take the arrow with the fingers of his bow-hand, which fell at a natural height to the quiver opening.
Shooting with arrows in the bow-hand is evidenced in several horse-archer cultures and it facilitates a particularly rapid shooting technique.
The arrow is folded down onto the string with the left hand and the string drawn in a fluid, continuous motion. The ergonomics of this shooting system are superb and it allows for the brief use of the bridle-hand to tweak the steering of the horse.
Many Scythian arrowheads were quite small and barbed. Whether shot into men or horses, no matter how powerful the bow, only arrows striking a few limited vital areas would prove fatal.
The Scythians ensured greater success by dressing their arrows with poison. Scythicon was produced from putrefied vipers, mixed with human blood and animal dung.
The Scythians had a coherent system of well-designed and distinctively unique archery tackle, from the bows themselves to the arrows and poison, the ingenuity of the gorytos and the bolstered saddle.
It is little wonder that they won such fame on the battlefield. Mike Loades is a respected author, broadcaster, director and action arranger who has made well over television appearances as a historical weapons expert and military historian.
Top Image Credit: The author demonstrating the hang of the gorytos, which holds both bow and arrows. The bolsters on the corners of the Scythian saddle, which has no stirrups, allow the archer to rock onto the front of his thighs, so elevating the seat for shooting.
Image: Kim Hawkins. TV A new online only channel for history lovers. Sign Me Up.
In a war that lasted 30 years, the Scythians destroyed the Cimmerians and set themselves up as rulers of an empire stretching from west Persia through Syria and Judaea to the borders of Egypt.
The Medes , who ruled Persia, attacked them and drove them out of Anatolia , leaving them finally in control of lands which stretched from the Persian border north through the Kuban and into southern Russia.
The Scythians were remarkable not only for their fighting ability but also for the complex culture they produced. They developed a class of wealthy aristocrats who left elaborate graves—such as the kurgans in the Valley of the Tsars or Kings near Arzhan, 40 miles 60 km from Kyzyl , Tyva—filled with richly worked articles of gold , as well as beads of turquoise , carnelian, and amber, and many other valuable objects.
This class of chieftains, the Royal Scyths, finally established themselves as rulers of the southern Russian and Crimean territories.
It is there that the richest, oldest, and most-numerous relics of Scythian civilization have been found. Their power was sufficient to repel an invasion by the Persian king Darius I about bce.
The Royal Scyths were headed by a sovereign whose authority was transmitted to his son. Eventually, about the time of Herodotus , the royal family intermarried with Greeks.
The community was eventually destroyed in the 2nd century bce , Palakus being the last sovereign whose name is preserved in history. The Scythian army was made up of freemen who received no wage other than food and clothing but who could share in booty on presentation of the head of a slain enemy.
Many warriors wore Greek-style bronze helmets and chain-mail jerkins. Their principal weapon was a double-curved bow and trefoil-shaped arrows; their swords were of the Persian type.
Every Scythian had at least one personal mount, but the wealthy owned large herds of horses, chiefly Mongolian ponies. Despite these characteristics, their many and exquisite grave goods, notably the animal-style gold artifacts , reveal that the Scythians were also culturally advanced.
Further, some gold ornaments thought to have been created by Greeks for the Scythians were shown to have predated their contact with Greek civilization.
See also Scythian art. Scythian Article Media Additional Info. Print Cite. Facebook Twitter. Give Feedback External Websites.
Let us know if you have suggestions to improve this article requires login. External Websites. However, the hero does not intend to resign himself to fate, and pursues the Scythians in an attempt to save his family.
As a guide, he takes the captive Scythian Marten Kuznetsov and, despite the huge differences between them, they must work together to survive their journey.
The film was released on January 18, These are times when one civilization is replacing another. A new era is about to begin in Central Eurasia.
The Scythians, once proud warriors, are all but gone. Their few descendants have become ruthless mercenary assassins, the "Wolves of Ares.
He becomes involved in internecine conflicts and sets off on a perilous journey to save his family. His guide is a captive Scythian by the name of Marten.
Lutobor and Marten are enemies. They pray to different gods but must embark on this journey together. They brave the wild steppes, moving toward the last haven of the Scythians, to what seems to be their inevitable demise.
Filming took place in the Republic of Crimea in autumn They filmed near Kerch , as well as near Yevpatoriya and Yalta.
From Wikipedia, the free encyclopedia.Alexander Kuznetsov. Thor 3: Tag der Entscheidung. Lutoboor Alexej Faddeew ist genau in dieser Situation. Zum Trailer. Deine Bewertung. Ob das alles der Wahrheit entspricht, mag dahingestellt sein. Die Messlatte ist also hoch angelegt, wird Blonde Frau nach einigen Anfangsverwirrungen locker genommen. Aleksey Faddeev. Mortal Engines: Krieg der Städte. Home Filme Rise of the Scythian.