Die Zeichen auf der Scheibe von Nebra und das altbronzezeitliche Symbolgut des Mitteldonau-Karpatenraumes. (original) (raw)
Related papers
Der sogenannte Kritios Knabe - ein signum marmoreum des Kritios?
My thesis focuses on the marble statue of a naked youth and the Greek artist Kritios who possibly made it. This statue, which is known as “Kritios Boy”, is certainly one of the most famous Greek originals. Since it has been discovered this male statue has been examined by many classical archaeologists, because there are some unresolved issues. This is also the reason why until the present day we know neither the exact place and time of the discovery, nor the circumstances of its “burial”, nor the dating or even the artist’s name. My thesis deals with the issue, whether the famous early classical artist Kritios, who created the second Tyrant-Slayers-group, is also the sculptor of the boy. Since A. Furtwängler has been assigned this statue to Kritios and has it always been compared with the replica of the younger of the Tyrant-Slayers named Harmodios. This is also the reason for calling the statue Kritios Boy. The original of the Tyrant-Slayers is lost, but there exist reproductions on small archaeologically objects. The mentioned representations can indeed give an approximate idea of the group. However, in order to get a clear idea of the way in which the artist has worked, 6 statue bases with signatures, which can be identified as Kritios works, are quite helpful, because they once supported bronze statues. But even using these blocks, a safe attribution of the Kritios Boy to this artist is not possible. Finally, the only remaining comparisons for the boy are the Roman replicas. Even after the comparison, it can still not be proven that the statue was made by Kritios. To leave no stone unturned for an attempt to ascribe it, I compared the statue with objects which are attributed to Kritios himself or to his joint workshop with Nesiotes, but again no clear evidence emerged that would lead to absolute clarity in this matter. This led me to conclude that eventually another name for the Kritios Boy should be found, for the future we should say the so called Kritios Boy.
Aufgetau(ch)t. Archäologie zu Seeufersiedlungen, Eisfunden und Klimawandel, 2024
The lakeside settlement at Cham “Bachgraben” (ZG) was excavated between 2009 and 2013, bringing to light extensive settlement remains spread across an area of more than 4000 m2. The ground plans of houses and other settlement structures from four Horgen and Corded Ware-period villages were identified. Moreover, dendroarchaeological dating yielded evidence of two Early Bronze Age settlements from the 17th and 16th centuries BC in the form of a ring palisade and gate as well as a pathway or footbridge. The two settlement phases, however, were represented by just one archaeological layer. Most of the 61 bronze objects, including 16 pins, date from the Middle Bronze Age and therefore represent yet another Bronze Age phase of activity, the majority of which is likely to have been eroded. Three in four Middle Bronze Age pins were found along the Early Bronze Age pathway or footbridge, which appears to have continued to exist in the Middle Bronze Age. The specific selection of types and their spatial concentration suggest that they wereintentionally deposited, perhaps as part of a ritual.
This paper attempts to interpret the evidence for the ritual activity from Younger and Late Bronze Age boarder features in the Elbe-Saale region based on the so called sacrificial or funnel shaped pitalignment on the densely settled spur near Zauschwitz, Lkr. Leipziger Land. This feature, a 150 me-ter long late Bronze Age ditch which revealed among other finds, bronzes and human bones in itsfilling, showed a segmented structure at its base. This relates it to the wide ranging pit alignmentsand other linear ditch features that divide and spatially define the plains in the salt bearing regions of Central Germany at the beginning of the first millennium BC. The function aspect of the Zausch- witz pit alignment as a dividing feature with in a settlement can be compared to a series Younger-and Late Bronze Age features in the Saale-Unstrut-Region, which in some cases also contained hu-man bones and bronzes. The deposition of human remains and corpses in settlements and their en-closing ditches can be seen as a recurrent feature of the younger and late Bronze Age society in thesalt rich areas of Central Germany. In conclusion the ritual emphasis of the boarder is seen withinthe context of the specific social, geographic and ecological structures faced by the salt producing communities in the Central Elbe-Saale-Region. This ritual denotation of dividing structures is con-sidered as one aspect of the multifaceted, highly organized as well as extremely unstable „Culture of Salt”, which gave the material culture and patterns of landscape use in the Central-Elbe-Saale regiona very specific profile.
Firedogs and moon idols belong to the symbolic world of the Urnfield Culture. A general approach on this group of objects, which have mainly been found in settlements, is still pending. Recently, the firedogs and moon idols of the late Bronze Age and early Iron Age in Central Europe have been in the focus of research. A systematic analysis of these objects from graves has produced new results, particularly with regard to the chronological position, the distribution, and their cultural meaning. The first firedogs and moon idols in graves appear in the 9th century BC. During the early Iron Age they became typical in eastern Central Europe. They emerge only in some archaeological cultures and are linked to specific groups of persons. Apparently these groups are religious communities. The firedogs and moon idols are an expression not only of material culture but especially of spiritual culture.
Die Himmelsscheibe von Nebra (The Nebra Sky Disk) Ein bronzezeitlicher Mythos
Die Darstellung auf der Himmelsscheibe von Nebra zeigt einen Mythos respektive eine Erzählung der Menschen aus der Aunjetitzer Kultur (2300-1600). Hauptthema der Erzählung sind die Plejaden, d.i. ein Trupp aus sieben Individuen, vermutlich ein Anführer und sechs Genossen. Die Sieben begeben sich im März auf eine Reise durch die Unterwelt und kommen im Oktober zurück. Die Reise durch die Unterwelt braucht ein Boot. Die Erzählung war von so großer Bedeutung, dass sie auf einer kostbaren und sehr sorgfältig gemachten runden Tafel aus geschwärzter Bronze verbildlicht wurde. Die Scheibe konnte, angebracht auf einer Unterlage, auch in Prozessionen mitgetragen werden. Sie wurde mit dem Untergang der Aunjetitzer Kultur um 1600 ehrenvoll bestattet. Die Grablege Auf dem Mitterberg bei Nebra, wurde ein Ringwall aus keltischer Zeit freigelegt. Es handelt sich um einen Zeugenberg, der im 2. Jahrtausend vor Chr. frei von Wald war und den Menschen, die vom Saaletal heraufkamen, einen bis zum Brocken reichenden 360° Rundblick bot, Auf der Ostseite innerhalb des Walles befand sich die auf ca. 1600 v. Chr. datierte "Grablege" der Scheibe. In einer rechteckigen Grube lag eine Schieferplatte, darauf stand an die Grubenwand gelehnt eine zweite Schieferplatte. Mit dem Bild nach Westen oder Nordwesten gerichtet hätten sie die Scheibe an die Platte angelehnt vorgefunden, so erzählen die Raubgräber. Davor hätten gestapelt zwei Schwerter, ein Kurzschwert, zwei Beile, ein Meißel und ein spiraliges schweres Armband auf der Platte gelegen. Die Applikationen Die sogenannte Himmelsscheibe von Nebra ist eine runde Tafel aus Bronze von ca. 31 cm Durchmesser. Darauf sind Applikationen aus Goldblech angebracht. Es sind offensichtlich eine Mondsichel und eine entsprechend große runde Goldscheibe, also wohl der Vollmond. Etwas nach oben versetzt, befindet sich zwischen Sichel und Vollmond ein Häuflein von sieben goldenen Punkten, genaugenommen ein Ring aus sechs Punkten mit einem Punkt im Ring. 25 weitere goldene Punkte sind über die Tafel verteilt. Sie stellen wohl Sterne dar. Die Darstellung des Himmels zu irgendeiner Zeit kann nicht gemeint gewesen sein. Siebengestirn, Mondsichel und Vollmond treten nicht gemeinsam auf. Der gestirnte Himmel war dennoch unverkennbar. Die Verteilung der Gold-Auflagen lässt eine künstlerische Hand vermuten. Es muss eine Erzählung dargestellt sein, in der der nächtliche Himmel eine Rolle spielt. Eine "konkrete Himmelsdarstellung" (Wikipedia) liegt nicht vor, schon des