Abstract
The article deals with the question of the origin of the BMAC deities found in the high art of Margiana and Bactria especially in glyptic art, for which there are no local precursors in Turkmenistan or Afghanistan. By analyzing the art of the Kerman or Jiroft culture of Southeast Iran, especially the seal finds from Konar Sandal and the intercultural style objects, the direct antecedents of the BMAC pantheon in Southeast Iran could be demonstrated. Both regions have an almost identical pantheon of female deities with similar attributes, same stylistic features and identical attitudes, and they share a common myth that is depicted in the art of both regions. Nevertheless, the goddesses in the BMAC undergo modifications in representation, which concerns hairdo and costumes, but which is particularly evident in the altered depiction of attribute animals, which are now often fused together, and the increased depiction of winged gods and attribute animals.
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