The Phoenician presence in the Iberian Peninsula significantly broadened the range of Mediterranean exotic and prestige goods available to local communities. The nature and role of these goods ...changed over time but also differed from area to area; a careful consideration of these imports therefore sheds significant light on the different historical trajectories of regional communities, as well as on the ideological underpinnings of their social and political structures.
Se analiza un conjunto de tres discos de cerámica procedentes de los niveles del Hierro Antiguo de Peña Negra. Presentan diferentes acabados y estarían provistos de asas, por lo que deben ...interpretarse como tapaderas de grandes recipientes de almacenaje. Se ha realizado el estudio petrográfico y mineralógico mediante microdifracción de rayos X (µDRX). Los resultados indican que se trata de piezas de composición relativamente homogénea y de probable producción local, cocidas a baja temperatura. Se revisa el hallazgo de objetos similares en otros contextos del Hierro Antiguo, destacando los recuperados en el Noreste peninsular y el Valle del Ebro, donde además se localizan discos-tapadera realizados en yeso similares a dos ejemplares recuperados en Peña Negra, donde es un material frecuente empleado en la construcción y en la fabricación de objetos.
In the past few years, deeply colored black-appearing glass has garnered a growing interest in the context of research on Iron Age glass technology and trade. The numerous ‘black’ glass beads found ...in Early Iron Age contexts of Southern Portugal have not however been considered in this discussion, and they remain largely unsystematized. In this contribution, a typological survey of these objects is presented which highlights their unusual concentration in a well-delimited area of Southern Portugal and their relatively circumscribed chronological setting. This is particularly striking when compared with other groups of beads, namely blue beads of various types, which are much more widespread and long-lasting. The global position of these beads is also considered, with typological comparisons and the few available compositional data suggesting that they may be the product of Punic, and perhaps specifically Carthaginian trade with the Western Iberian Peninsula. Finally, the possible specific historic context in which these beads arrived in Southern Portugal is considered.
Durante degli scavi d’emergenza condotti dalla Soprintendenza Archeologica nel 1971 in via Sabotino a Bologna, fu scoperta un’area funeraria con circa trenta tombe di cui si sono conservati ...27 corredi databili dall’ VIII all’inizio del VI sec. a.C. Le tombe sono inedite ad eccezione di alcune fotografie e di una pianta inattendibile, pubblicate nel 2012 in uno studio generale sulle necropoli villanoviane di Bologna. Inoltre parte dei materiali della tomba 11, quelli restaurati, sono stati presentati nella Mostra “Donne dell’Etruria Padana dall’VIII al VII sec. a.C.” tenutasi presso il Museo civico archeologico di Castelfranco Emilia nel 2015 e figurano nel suo catalogo. Nell’attesa della pubblicazione dell’insieme, sembra opportuno dare indicazioni sui 38 graffiti scoperti in 13 tombe. Essi completano lo studio classico di Sassatelli del 1985, dove furono esaminati 442 graffiti inclusi i 150 marchi provenienti dal ripostiglio di San Francesco a Bologna, senza però poter prendere in considerazione il loro contesto archeologico. Come si può aspettare, molti di questi graffiti sono semplici croci o marche a forma di tridente; tuttavia, uno presenta un interesse maggiore: una fusaiola, trovata in una tomba del periodo 675-650 a.C. comporta infatti l’inizio di un alfabeto del tipo evoluto (aev), privo delle lettere inusitate nella lingua etrusca (b o d) e seguendo gli standards grafici dell’Etruria del Nord, con l’uso della k invece della c. Sarebbe dunque l’esempio più antico di un tale alfabeto.
Historians of Greek religion have for a long time been aware of the existence of a deity of pre-Hellenic times of Aegean-Anatolian origins, the mistress of animals and in whose iconographic theme ...there was a resurgence of interest in various artistic productions in the Greek world during the so-called orientalizing period (end 8th – mid 6th century B.C.). In the late 19th century, this particular image was linked to the protector of the wild world, Artemis, following the expression, πότνια θηρῶν, used by Homer in book XXI of the Iliad to describe the goddess. Since then, the mistress of animals has been interpreted as a forerunner of the goddess Artemis, gradually assimilated with the Olympian twin in the 6th century BC. This unequivocal connection with the complex and ambiguous personality of Artemis needs to be reconsidered in the light of a contextual study using both an iconographic and an archaeological approach, relying especially on a redefining of the inventory of the images studied and a review of their cultic associations.
The article proposes a diachronic analysis of the evolution of roofs carpentry in Etruria from the Villanovan age to the Orientalizing period with incursions in the fifth and fourth centuries BC. The ...information kept in the funerary architecture - “faithful” reproduction of real environments even in the construction details - and the data inferable from the urns in the shape of a house crossed with the documentary sources, Vitruvius in particular, have allowed to formulate plausible hypotheses on the organization of the timber carpentry. The roofs of Iron Age huts, based on the fundamental criterion of equilibrium, comprised, at least for those with a rectangular plan, a king post, a columen and inclined members that provide the slope to the roof. This articulation, although persisting in the following centuries, varies in the quality of the component elements, which are squared and “sized” for the specific role played.
Se presenta una asa de bronce fragmentada procedente de la necrópolis de El Molar. La identificación tipológica como un tipo particular de asa de jarra de tipo ‘rodio’ permite una serie de ...reflexiones sobre su forma, su origen en el Mediterráneo oriental y su cronología en la primera mitad del s. VI a.C.
In this paper, first I examine briefly the bibliography about the relationship between the reliefs of the Iberian funerary monument of Pozo Moro (Chinchilla de Montearagón, Albacete) and the portable ...art. Until now, this discussion has concluded that there is not a clear link between the Ancient Near Eastern portable art and the Iberian funerary monument’s reliefs. But this not demonstrates the lack of close cultural references for the reliefs, but points out to the formal distance that exists between the Near Eastern art (the realm most analyzed on this subject) and the Iberian funerary monument’s iconography. I defend that, therefore, it is necessary to examine other material productions, with the purpose of finding more precise references; especially, the contemporary Italic productions, most of all Etruscan objects. Like a specific case of study, I analyze from a formal point of view the similarity that exists between some elements in the monument’s bas-reliefs and bronze productions from the so-called maritime (or Southern) Etruria. This analysis points out that several elements of the Pozo Moro’s reliefs show how were incorporated into its iconography features and concepts which were characteristic of Etruscan centres, as Vulci or Caere, at the end of the Sixth century and the beginning of the Fifth century B. C.
En este trabajo, se expone en primer lugar el debate generado en torno a la vinculación existente entre los relieves del monumento ibérico de Pozo Moro (Chinchilla de Montearagón, Albacete) y el arte mueble. Los estudios realizados hasta la fecha han concluido que no existen vínculos claros entre el arte mueble próximo oriental y los relieves del monumento funerario, Pero esto no demuestra que dichos relieves carezcan de referentes culturales próximos, sino que constituye un indicio de la distancia cultural existente entre las producciones próximo orientales (que han sido el principal objeto de estudio) y la iconografía del monumento. Se defiende por ello la necesidad de examinar otras producciones materiales con el fin de encontrar referentes más precisos. En especial, las producciones itálicas, principalmente etruscas, de época coetánea. Como caso concreto, se examina a continuación con un enfoque exclusivamente formal la similitud que existe entre diversos elementos presentes en los bajorrelieves del monumento ibérico y algunas producciones en bronce de la Etruria meridional o marítima. Este análisis indica que diversos elementos presentes en los relieves del monumento de Pozo Moro muestran que sus artífices incorporaron a su iconografía conceptos y rasgos que eran característicos de centros etruscos como Vulci o Caere a finales del siglo VI e inicios del siglo V a. C.
L'enquête porte sur l'Italie et les premiers temps du monde étrusque. Elle s'intéresse plus particulièrement à la période comprise entre un moment avancé du Premier âge du Fer et de la fin de ...l'Orientalisant (800-580 av. n.è.). Cette période charnière est celle du passage de la culture villanovienne à la culture étrusque. Les découpages chronologiques traditionnels ont entravé la lecture dans la diachronie de la documentation archéologique, et donc des transformations en œuvre dans la société étrusque. Dans ce travail, je me suis appuyée sur un corpus funéraire totalisant 771 tombes et plus de 10 000 objets provenant de trois sites parmi les mieux documentés de la Péninsule (Veio, Pontecagnano et Verucchio) pour reconstruire un cadre de développement chrono-culturel qui embrasse ces deux périodes traditionnellement disjointes. Ces analyses chronologiques étaient un préalable nécessaire à l'étude de dynamiques culturelles plus complexes qui ont amené à cette époque, les élites (proto) -étrusques à s'insérer dans ce grand courant méditerranéen que fut le phénomène orientalisant, et à s'attacher dans leurs tombes des biens et matières provenant d'Orient. La mise à plat de la documentation, ainsi que la périodisation élaborée dans ce travail permettent désormais de suivre dans une séquence continue et plus longue l'adoption des différents éléments orientaux par les communautés étrusques.
The present investigation deals with Italic peoples and the early days of the Etruscan world. It focuses more particularly on a period from the Early Iron Age to the end of the orientalizing period (800-580 B.C.). This crucial time shows the transition from Villanovian culture to Etruscan culture. The traditional chronological cuts have hindered the diachronical analysis of the archaeological documentation and, therefore, the ongoing social mutation of the Etruscan society. ln this research, I have used three major and well known funerary contexts (of Veio, Pontecagnano and Verucchio), totalizing 771 tombs and more than 10 000 artefacts, in order to reshape a precise chrono-cultural sequence which embraces those two periods, traditionally studied as separated chronological phases. My chronological analysis was a necessary precursor to the study of more complex cultural dynamics that occurred at this time in the Mediterranean Basin: the Orientalizing Phenomenon in which (proto)-Etruscan elites played an active role in using, as new identification criteria in their tombs, goods and raw materials coming from the Orient. The blank creation of the archaeological documentation and the new periodization created in this thesis work now allows us to follow, through a continuous and a longer sequence the adoption, by the Etruscan communities, of various oriental elements.
Amber in Italy Bonfante, Larissa
The Oxford Handbook of Pre-Roman Italy (1000--49 BCE),
03/2024
Book Chapter
The amber in Italy came from the Baltic Sea along routes that connected Europe with the Mediterranean. It entered the Italian peninsula from the northeast by way of the eastern Alpine passes. Its ...brilliance, transparency, fiery colors, fragrance, magnetic properties, and occasional inclusions earned it a special place as a valuable import in Italy, where it was used continuously from the Bronze Age all the way up to the Roman Empire. This situation is not found anywhere else, and it allows us to see some of the aesthetic and religious manifestations of amber in different regions. This chapter examines the craftsmanship, style, and type of material used in different phases, which allow us to trace the influences at work on the peninsula.
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