A unique symbol of power (?) The wooden staves from princely grave 1, barrow 1, from the Glauberg in Hesse, the attempt of an interpretation. (original) (raw)
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The Legends Journal of European History Studies, 2020
Makale, ―Herakle‘nin düğümü‖ olarak bilinen süslemeyi ve bunun geç Bizans kutsal bağlamında heykellerdeki kullanımını analiz etmektedir. Herakle‘nin düğümünün motifinin, Antik Çağda sanatsal üretimin her alanında geniş kullanımının yanı sıra, özellikle Sırbistan Kralı Milutin'in mimarisinde (r. 1282-1321) Paleologos döneminde geliştiği daha az bilinen bir gerçektir. Herakle'nin düğümü, StaroNagoriĉino'daki St. George kilisesinin batı cephesindeki biforada ve her ikisi de 1313 yılına tarihlenen Studenica Manastırı'ndaki St.Joachim ve Anna kilisesinin (yaygın olarak Kral kilisesi olarak bilinir) apsisinin biforasında tasvir edilmektedir. Herakle‘nin düğümünün kullanımı, Kral Milutin'in muzaffer niyetinin bir devamını temsil eder ve bu anlamda apotropaik bir sembol olarak işlev görür. Öte yandan, bu sembolün kullanımı, genç Bizanslı bir eş olan Kraliçe Simonis ile gelecek nesillere yönelik duasının görsel tepkisi ile de bağlantılı olabilir. The essay analyzes the ornament known as the-Heracle's knot‖ and its usage in sculpture in the late Byzantine sacred context. It is a less known fact that the motif of Heracle's knot, apart from its wide usage in Antiquity in all ranges of artistic production, blossomed during the Palaiologan period especially in the architecture of King Milutin of Serbia (r. 1282-1321). Heracle's knot is depicted on the bifora on the west façade of the church of St. George at Staro Nagoriĉino and the bifora of the apse of the church of St. Joachim and Anna (widely known as King's church) in Studenica Monastery, both dating to 1313. Usage of Heracle's knot represents a continuation of King Milutin's triumphant intentions and in that sense functions as an apotropaic symbol. On the other hand, usage of this symbol could also be connected with the visual response of his prayer for posterity with Queen Simonis.
Erinnerte Macht. Antike Herrschergräber in transkultureller Perspektive, 2021
The main focus of this paper lies on the so-called tumulus burials, which in the necropoleis of the cities and towns of the late Roman Republic and early Roman Empire consisted of an artificially-raised earthen mound (Latin: tumulus) heaped on top of the tomb itself. Taking this group of monuments as an example, the following structural considerations should be questioned: The primary purpose of great burial monuments is to remind the people of the ruler’s great deeds and achievements and to depict them for all to see. Military victories and other successes underline his prominent social and political position. A record of the deeds of a victorious and beneficent ruler could be given during the funerary ceremonies in verbal form or via a detailed inscription carved into the tomb itself. In such an official record, the commemoration of the person himself, his deeds and noteworthy events that occurred during his rule are closely interwoven and tied directly to the name of the ruler. A nameless sovereign cannot be remembered nor his deeds celebrated. His very name can be understood as a medium of remembrance, and can be linked to other eminent personages of the same name or connected honours and deeds, as for example the founding of cities or public festivals named after a particular ruler.
in: P. Suchowska-Ducke, S. Scott Reiter and Helle Vandkilde (eds.), Forging Identities. The Mobility of Culture in Bronze Age Europe (Report from a Marie Curie Project 2009-2012 with Concluding Conference at Aarhus University, Moesgaard 2012): Volume 1, Oxford 2015, 93-99.
High-ranking individuals institutionalizing force and sharing a collective ‘warriorhood’ identity are considered a major factor in the interpretation of Bronze Age social stratification. The innovative character of the sword as a weapon and marker of social rank was especially emphasized within this context. A change within this framework seems to have taken place during the Late European Bronze Age with the adoption of cremation burial and the reduction of grave goods. In northern Central Europe and Southern Scandinavia, this was accompanied by another local phenomenon: the functional weapon seems to have been substituted by a detailed miniature version within funerary contexts. Apparently, the symbolic meaning of the sword still played a role in the creation of identity. However, what remains to be discovered is whether the social pre-conditions which surrounded the inclusion of swords had changed or whether they were still operative on the previous scale.
75 YEAR JUBILEE OF THE INSTITUTE OF ART HISTORY AND ARCHAEOLOGY, 2024
The ancient necropolis of Gorenci near Trebenishta certainly has a special place in the context of Central Balkans archaeology. During several campaigns in the last century, some of the most valuable examples of arts and crafts from the 6th and 5th centuries BCE were discovered. Both older and more recent considerations of this material increasingly confirm the value of the Ohrid area in the dynamic processes of various intercultural relations and transmissions of leading members of society of that period, but also the spread of specific material culture of the narrower and wider region. An exceptional find is certainly Grave 8, which was systematically discussed in previous scientific discourse so that the preserved objects have undergone countless interpretations. However, they were rarely or never connected into a meaningful, coherent entity that represented the grave as a unique, cohesive unit. The present study focuses on the archaeological context of the grave and the analysis of symbolic grave goods, such as golden foils that covered various parts of the deceased's body, silver ceremonial drinking vases, an Illyrian bronze helmet, and a volute krater. Since the comparative analysis and iconographic interpretation of multidimensional visual art depicted on these objects are integral to understanding the archaeological context, their synthesis will revise previous knowledge and offer a new interpretation of the gender, age, and significance of the buried person as well as the burial ritual itself.
Oana Tutilă Bărbat Cover Design: Oana Tutilă Bărbat, Nicolae Cătălin Rişcuţa (Front Cover: Clay Hands from Vlaha, Cluj County; photo: Mihaela Savu) Descrierea CIP a Bibliotecii Naţionale a României REPRESENTATIONS, SIGNS AND SYMBOLS. Simpozion naţional ( 2014 ; Deva) Representations, signs and symbols : proceedings of the symposium on religion and magic : Deva, 27-29 martie 2014 / coord.: Nicolae Cătălin Rişcuţa, Iosif Vasile Ferencz, Oana Tutilă Bărbat. -Cluj-Napoca : Mega, 2015 Bibliogr. ISBN 978-606-543-579-7 I. Rişcuţa, Nicolae Cătălin (coord.) II. Ferencz, Iosif Vasile (coord.) III. Tutilă Bărbat, Oana (coord.) 902 Representations, Signs and Symbols, 2014 / p. Abstract: Our paper is based on an archaeological feature consisting of a circular pit excavated in 2004, in a Bronze Age settlement from Vlaha, Cluj County. Among sherds, burnt animal bones, small pieces of charcoal, ashes, and two grinding stones, were two superposed fragmented clay hands, a bronze dagger blade, and a small fragmentary bronze wire. The human hand is a universal symbol to this day, due to various associations based on reasons ranging from the pragmatic to those that have lost their original meaning. Starting from a Bronze Age pit containing two clay hands as remarkable, unique findings, we are exploring the fields of symbolism and ritual as well as the possibilities of the already mentioned archaeological context to be assigned to such a display.
Representations, Signs and Symbols Proceedings of the Symposium on Religion and Magic
Oana Tutilă Bărbat Cover Design: Oana Tutilă Bărbat, Nicolae Cătălin Rişcuţa (Front Cover: Clay Hands from Vlaha, Cluj County; photo: Mihaela Savu) Descrierea CIP a Bibliotecii Naţionale a României REPRESENTATIONS, SIGNS AND SYMBOLS. Simpozion naţional ( 2014 ; Deva) Representations, signs and symbols : proceedings of the symposium on religion and magic : Deva, 27-29 martie 2014 / coord.: Nicolae Cătălin Rişcuţa, Iosif Vasile Ferencz, Oana Tutilă Bărbat. -Cluj-Napoca : Mega, 2015 Bibliogr. ISBN 978-606-543-579-7 I. Rişcuţa, Nicolae Cătălin (coord.) II. Ferencz, Iosif Vasile (coord.) III. Tutilă Bărbat, Oana (coord.) 902 Abstract: The Uroi -Sigheti archaeological site is located on the right bank of the Mureş River. It was unearthed within the preventive archaeological researches of the area affected by the A1 motorway construction. There were discovered complexes dated in several periods, the most numerous being from the Bronze Age. We present two ceramic artefacts: a fragmented birdshaped vessel and a fragmentary boat-shaped wagon model, discovered in the Wietenberg settlement from the site mentioned above. We discuss their significance and also the decorative elements of their incised ornaments. In our theoretical debate, we shall take into consideration the larger frame of the European Bronze Age symbolism.