25 October - 12 April 2026
A large-scale exhibition project dedicated to the millennia-old history of Central Asia. Through archaeological artefacts of exceptional value, the exhibition highlights the central role of Turkmenistan as a crossroads of civilizations between the Iranian world, the Eurasian steppe, and the Mediterranean, offering the Roman public a rare opportunity to engage with cultures that remain little known.
Capitoline Museums – Palazzo dei Conservatori, Piazza del Campidoglio 1
Between the Caspian Sea, desert oases, and the major communication routes of Central Asia, the territory of present-day Turkmenistan has constituted, since prehistoric times, a strategic hub of cultural, economic, and political interactions. Hosted in the rooms of the Palazzo dei Conservatori, the exhibition aims to reconstruct this long historical trajectory through a rigorously archaeological approach, based on the analysis of contexts, material cultures, and long-term dynamics.
In this sense, the exhibition positions itself as a critical tool capable of questioning established historiographical categories such as centre and periphery, shedding light on the active role of Central Asia in the construction of the ancient world. The display favours a clear and progressive narrative, leaving space for reflection and comparison between archaeological data and historical interpretations.
The exhibition proposes an articulated re-reading of the cultures that developed in Central Asia between the 3rd millennium BC and the 1st century AD, highlighting the role of Turkmenistan as an area of autonomous formation of complex political, economic, and symbolic systems. Through a selection of more than one hundred and fifty archaeological artefacts, the exhibition project conveys the historical depth of a territory that was a crossroads of exchanges, technological innovations, and stratified cultural traditions.
The interpretative axis of the exhibition is based on the reconstruction of long-term processes that led to the emergence of stable communities, the development of urban centres, and the formation of state entities, demonstrating how Central Asia does not represent a cultural periphery, but rather an active space of historical elaboration. In this sense, the exhibition invites visitors to move beyond Eurocentric readings, proposing a polycentric vision of the ancient world.
A substantial thematic section is dedicated to protohistoric Margiana, a central area of the so-called Murghab Archaeological Complex, which flourished between the 3rd and 2nd millennium BC. Artefacts from sites such as Gonur Depe document the existence of advanced agricultural societies capable of organizing complex irrigation systems in an environment marked by extreme aridity.
The material production of these communities reveals a high level of craft specialization. On display are finely decorated ceramic vessels, metal tools, seals with zoomorphic and anthropomorphic iconography, as well as personal adornments such as necklaces in gold and semi-precious stones, evidence of exchange networks linking Margiana to the Iranian plateau, the Indus Valley, and Mesopotamian regions.
Of particular significance are materials connected to the ritual sphere: terracotta figurines, altars, and votive objects suggest the existence of structured religious practices linked to the worship of natural elements and the sacralization of space. These artefacts make it possible to reconstruct a complex symbolic system in which ritual played a central role in social cohesion and the legitimation of elites.
One of the most significant moments of the exhibition itinerary is the section dedicated to Nisa, the ancient ceremonial capital of the Parthian Empire between the 2nd century BC and the 1st century AD. Materials from Nisa-Mithradatkert offer exceptional testimony to Arsacid culture and its highly sophisticated artistic language.
Among the most emblematic artefacts are the celebrated ivory rhyta, finely decorated with mythological scenes and figurative motifs of Hellenistic derivation, alongside unfired clay heads depicting rulers, dignitaries, and warriors. These works reveal a masterful integration of Greek, Iranian, and local models, giving shape to an autonomous imperial aesthetic.
The presence of marble statues, architectural elements, and prestige objects underscores Nisa’s role as a political and symbolic centre, home to a court attentive to the use of art as an instrument of power representation. In this section, the exhibition highlights how Hellenistic heritage was not simply received, but reworked to serve a distinct cultural identity.
The initial sections of the exhibition are dedicated to the earliest phases of occupation of the territory, documented by artefacts attesting to the transition from subsistence economies based on hunting and gathering to structured agricultural systems. Archaic ceramics, lithic tools, and architectural remains illustrate processes of sedentarization and the emergence of stable communities.
The analysis of Neolithic and Chalcolithic cultures makes it possible to understand how Central Asia actively participated in the so-called “Neolithic Revolution,” developing specific adaptive solutions in relation to a complex natural environment. These early communities laid the foundations for the subsequent formation of hierarchical societies and proto-urban centres.
The exhibition project arises from an international scientific cooperation involving museums, universities, and archaeological missions active in Central Asia for several decades. The displayed materials come from some of Turkmenistan’s major sites, including Nisa, Gonur Depe, and Merv, and cover a chronological span from the Neolithic period to Late Antiquity. The aim is not merely to document a succession of cultures, but to convey the complexity of the historical processes that shaped this territory.
The exhibition itinerary is conceived as a coherent and progressive historical narrative, guiding visitors through the main phases in the development of Turkmenistan’s civilizations. The display favours a scientific approach grounded in the centrality of archaeological context and in the relationship between materials, spaces, and functions.
The curatorial choice avoids a simple chronological sequence of artefacts, instead proposing thematic clusters that allow visitors to grasp dynamics of cultural and social transformation. Each section is designed to encourage a stratified reading, in which material evidence engages in dialogue with historical interpretation.
A defining feature of the exhibition is the attention paid to the find context of the artefacts. Objects, structures, and materials are presented as parts of complex systems, whose meaning emerges only through stratigraphic and comparative analysis.
This approach makes it possible to move beyond a purely aesthetic appreciation, restoring the artefact’s documentary value. Visitors are thus invited to understand archaeology as a historical discipline, grounded in the critical interpretation of material evidence.
The coexistence of luxury items and everyday objects makes it possible to reconstruct the economic and social dynamics of ancient communities. Jewellery, seals, fine ceramics, and metal artefacts are displayed alongside agricultural and domestic tools, highlighting the complexity of production structures.
This section sheds light on the relationship between elites and communities, showing how control over resources and craft production was a central element in the construction of power.
The itinerary devotes ample space to the architectural dimension, through reconstruction models, plans, and original fragments. Monumental structures—temples, palaces, fortifications—are presented as key elements in defining urban and symbolic identity.
Altars, votive objects, and ritual installations allow for an exploration of religious practices and their role in social cohesion. The exhibition highlights how the sacred functioned as a fundamental tool for organizing space and legitimizing political power.
From this perspective, the exhibition offers an integrated vision of the civilizations of Turkmenistan, in which economy, religion, and politics appear closely interconnected.
One of the central pillars of the exhibition Ancient Civilizations of Turkmenistan is the valorization of the scientific work that, over more than a century, has made it possible to uncover, document, and interpret the archaeological heritage of Central Asia. The exhibition is conceived not only as a presentation of artefacts, but as a critical restitution of a history of research marked by the progressive refinement of investigative methods and the intensification of international cooperation.
The exhibition project is in fact the result of close collaboration between Turkmen museums and academic institutions and Italian and European cultural bodies, in line with a vision of heritage protection as a shared responsibility. Within this framework, the exhibition also assumes diplomatic and cultural value, promoting dialogue between different scholarly traditions and fostering the conscious circulation of archaeological knowledge.
The section dedicated to the history of research traces the main stages of archaeology in Turkmenistan, from the first explorations at the end of the 19th century to contemporary multidisciplinary missions. Through archival photographs, excavation documents, and original materials, the itinerary highlights how knowledge of Central Asian civilizations is the result of a long and stratified process.
Particular attention is devoted to excavations at key sites such as Nisa, Gonur Depe, and Merv, which profoundly altered understanding of the area’s cultural and political dynamics. Investigations carried out in these contexts have made it possible to identify articulated urban complexes, defensive systems, ceremonial spaces, and necropolises, revealing highly structured societies.
The exhibition shows how early interpretations, often influenced by Eurocentric historiographical models, were progressively overcome thanks to new data and greater attention to local contexts. This process of critical revision is presented as an integral part of the archaeological method.
A further area of focus concerns the evolution of excavation and analytical methodologies. The exhibition documents the transition from a predominantly descriptive archaeology to an interdisciplinary approach integrating archaeometry, paleoenvironmental studies, anthropological analysis, and digital reconstructions.
Through explanatory panels and supporting materials, visitors are introduced to the main tools of contemporary research: from stratigraphy to radiometric dating, from the study of botanical and faunal remains to the reconstruction of ancient landscapes. This educational apparatus helps make the interpretative process transparent, emphasizing the scientific—not merely illustrative—nature of archaeology.
The exhibition insists on the concept of archaeological excavation as an irreversible and interpretative act, in which every methodological decision affects the reading of the past. In this sense, the exhibition educates visitors to a conscious engagement with artefacts, not as isolated objects, but as elements embedded in a complex network of spatial, temporal, and cultural relationships.
In full coherence with the official press release, the exhibition emphasizes the role of international cooperation in the protection and enhancement of Turkmenistan’s archaeological heritage. The loans granted by Turkmen institutions represent a gesture of openness and trust, grounded in long-term scientific and cultural agreements.
The exhibition project is presented as the outcome of continuous dialogue among scholars, curators, and conservators, aimed at ensuring the proper preservation of materials and their historical contextualization. Collaboration between museums thus becomes a virtuous model of heritage management, based on respect for provenance and the sharing of expertise.
Within the Capitoline Museums, the exhibition takes on the meaning of a platform for cultural mediation, where archaeological heritage becomes a tool for mutual understanding. The exhibition does not merely present an “other” history, but invites reflection on the deep connections between Central Asia and the Mediterranean world, highlighting continuities, exchanges, and reciprocal influences.
From this perspective, archaeological research is not understood as a closed discipline, but as an open practice capable of generating dialogue and contributing to the construction of a shared historical memory.
Archival photographs, excavation diaries, and scientific documentation illustrate fieldwork and the progressive refinement of historical interpretations. The exhibition underscores how knowledge of the past is the result of a constantly evolving process, open to revision and new readings.
The exhibition project represents a significant example of international cultural cooperation aimed at protecting and enhancing archaeological heritage. Dialogue between institutions makes it possible to present to the public materials rarely seen outside their countries of origin.
The exhibition is grounded in a complex institutional and scientific project that guarantees its high cultural profile and methodological solidity. Promoted by Roma Capitale through the Department of Culture and the Capitoline Superintendence for Cultural Heritage, the exhibition fully aligns with public policies for heritage enhancement and with the international vocation of the Capitoline Museums.
The involvement of the Ministry of Foreign Affairs and International Cooperation places the exhibition within a broader framework of cultural relations between Italy and Turkmenistan. In this context, collaboration with the Ministry of Culture of Turkmenistan ensures the scientific legitimacy of the loans and full respect for the original contexts of the displayed materials.
A decisive contribution is provided by the participating research institutions, including ISMEO, the CRAST of Turin, and the University of Turin, which for years have been active in Central Asia through archaeological missions, interdisciplinary studies, and scientific cooperation projects.
The curatorship, entrusted to Claudio Parisi Presicce, Barbara Cerasetti, Carlo Lippolis, and Mukhametdurdy Mamedov, reflects a collegial and international approach. The curators’ museum and archaeological expertise makes it possible to combine scientific rigor, clarity of presentation, and attention to the historical and symbolic value of the artefacts.
The exhibition offers a rare opportunity to engage with a complex and stratified history that remains little known to the general public. The scientific quality of the project and the richness of the displayed materials make the exhibition a significant event on Rome’s cultural calendar.
Visiting the exhibition means broadening one’s perspective on the history of the ancient world, recognizing the central role of Central Asia in the processes of civilizational formation. The exhibition invites visitors to move beyond a Eurocentric perspective, proposing a more inclusive and articulated reading of the past.
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