The paper introduces the particle-induced X-ray emission analysis (PIXE) of two Hajdúböszörmény-type situlae from the eponymous Hajdúböszörmény I hoard (collection of the Hungarian National Museum, ...Budapest) and Sényő (collection of the Jósa András Museum, Nyíregyháza). Both situlae are representative types of the period between 1080 and 960 BC, Ha B1, or the ‘Hajdúböszörmény hoard horizon’ of the Hungarian Late Bronze Age. The obtained results are significant in that they are the very first to characterise the classic Hajdúböszörmény-type situla from their core distribution area, i.e., the region where this metal vessel type was presumably produced. The paper is focused on a description of the elemental composition of these tin bronze vessels, with particular attention on the grouping of their accompanying elements and the ratio of tin. The PIXE results suggest that a rather homogenous raw material was used to produce and repair these objects, which can be correlated with the CG16 Copper Group. The ratio of tin was relatively high, mostly around 9–10 wt%; low values were only identified on one of the repaired parts of the Sényő situla and a secondarily attached copper rivet.
Situla Art is an Iron Age artisanal tradition dated to c. 660/650–275 BC, corresponding to the Hallstatt C2 to the La Tène B2 phases. It is characterised by striking sheet-bronze objects with ...embossed and/or incised decoration in Orientalising taste with animals, plants and/or human figures generally distributed in friezes. Situla Art is documented between the Apennines and the eastern Alps, and Este is suggested as its key centre. This paper provides a long overdue literature review, a working definition for Situla Art and an updated catalogue with 306 objects. It also (re-)investigates the influences which may have led to the emergence of Situla Art, its development and decline. Hats and earrings depicted in Situla Art are investigated to highlight their identity valencies, and to provide socio-political insights on the Iron Age elite who used Situla Art as a non-linguistic symbol-based system to acquire, exhibit and legitimate power over time in the area of its distribution.
Z najdišča Gradec pri vasi Krn v Posočju izvirajo arheološke najdbe nakita, bronastih posod, orodja in orožja iz starejše in mlajše železne dobe, ki jih je izkopal nepooblaščen iskalec ...arheoloških najdb z detektorjem kovin. Med najdbami sta posebno pomembna bronasta figuralna situla iz konca 5. ali začetka 4. st. pr. n. št. ter bronasta čelada etruščansko-italske vrste iz 2. oz. začetka 1. st. pr. n. št. Terenske raziskave so pokazale, da je najditelj predmete izkopal iz žganih grobov, medtem ko je bila čelada morda prej votivni predmet kot grobni pridatek. Odkrit je bil tudi nedotaknjen bojevniški grob iz poznolatenske stopnje LT D1. Menimo, da je Gradec pri Krnu verjetno povezan z gorsko potjo, ki so jo v železni dobi uhodili po rudonosnem območju med dolino reke Soče in Bohinjem.
Insignia of power Adrienne C. Frie
Documenta praehistorica,
12/2018, Letnik:
45
Journal Article
Recenzirano
Odprti dostop
Bird symbolism in the Dolenjska Hallstatt culture had strong associations with ritual and hierarchy, as demonstrated by bird imagery on insignia of power such as bronze vessels, wagons, and sceptres. ...The elaboration of such items with birds may have elevated items of prestige to items of ritual potency, highlighting the sacred and worldly power of the elite males with whom these items were associated. Avian depictions on bronze vessels, sceptres, and wagons with important cosmological and ritual associations indicate that birds were deeply entangled in presentations of status, particularly those that blurred the lines between the secular and sacred realms.
U radu je analizirana pojasna kopča kompozitne konstrukcije koja potječe sa željeznodobnog nalazišta Prozor kod Otočca. Oblikom i konstrukcijom, sastavljenom od željezne ploče na koju je zakovicama ...pričvršćen brončani lim ukrašen iskucavanjem, bliska je pojasnim kopčama s prostora dolenjske halštatske skupine, datiranima u razdoblje 6. i 5. st. pr. Kr. Također, razmatra se izvor nadahnuća za izvedbu konjskih figura kojima je kopča ukrašena, a koje se, u odnosu na ostale, uglavnom stilizirane prikaze konja s japodskog prostora, odlikuju određenom realističnošću.
Insignia of power Frie, Adrienne C.
Documenta praehistorica,
12/2018, Letnik:
45
Journal Article
Recenzirano
Bird symbolism in the Dolenjska Hallstatt culture had strong associations with ritual and hierarchy, as demonstrated by bird imagery on insignia of power such as bronze vessels, wagons, and sceptres. ...The elaboration of such items with birds may have elevated items of prestige to items of ritual potency, highlighting the sacred and worldly power of the elite males with whom these items were associated. Avian depictions on bronze vessels, sceptres, and wagons with important cosmological and ritual associations indicate that birds were deeply entangled in presentations of status, particularly those that blurred the lines between the secular and sacred realms.
Early Byzantine fort Σίκλαι (Siclae) was recorded by the historian Procopius in his Buildings, more precisely, in the list for Macedonia from Book IV. Procopius’ form of the place name confirms the ...disappearance of the unstressed vowel in the penult as one of the most important features in Vulgar Latin phonetics. Apart from considering the morphological peculiarities of the toponym, the present article also focuses on a more detailed examination of its etymology. To this effect, two equally possible solutions regarding the origin of the name are presented. According to the first one, the appellative sicla/sikla forms the basis of this toponym, which is the Vulgar Latin variant of the noun situla, denoting a ‘bucket, pail, jug, pitcher’. The other possibility, equally strong, is that this toponym is related to the name of the Illyrian tribe Siculi/Siculotae (Σικελοί).
The main object of this article is the codification of varieties of the problem of depictions by motifs, but also by symbols or ciphers: The first motif to mention is the arrival to the feast by ...horses and wagons or the processions with animals, of warriors or participants. Secondly, the so-called Epulum is to be named, celebrating, wining and dining, offering food and drink to participants and lovers. As part of the festival, musicians are playing the lyra and blowing the syrinx too, also dancers and a singing man can be seen. Finally, the contests, so-called Agones – „gymnic“ as fist fighting, so-called „Faustkampf“, „hippic“ as horse- and chariot racing, and „music“ as acting perfomance of musicians – are named. But in order to represent the festivities in full complexity on one frieze, the artist has to use ciphers as well.
Depictions of birds are overrepresented in the Dolenjska Hallstatt culture, and appear on over a quarter of artefacts depicting animals. A wide variety of artefacts with birds have been found ...primarily in graves, and crosscut gender, status, and age. However, poor preservation of zooarchaeological remains has made reconstructions of lived human-bird interactions difficult. This study uses ecological and ethological data, combined with local imagery, to provide insight into prehistoric human-bird interfaces in this area, and the cultural conceptions surrounding these interactions. Birds would have been a constant presence in the lives of Dolenjska Hallstatt people; however, human relationships with them were based more on observation than direct interaction. Birds were ubiquitous in imagery, and it is proposed that this stemmed from Dolenjska Hallstatt conceptions of birds as important observers of human actions, ritual mediators, and possibly guides or guardians. Their differences from humans and other animals distinguished them - they were set apart, and depictions highlighted non-normative behaviours. Birds in the Dolenjska Hallstatt worldview were more than animals, ascribed extraordinary capabilities that made them ritually potent and richly symbolic creatures.
PDF
