Römische Glasgefäße mit byzantinischen Goldapplikationen des 8./9. Jahrhunderts (original) (raw)
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Unpublished M.A. thesis (Westfälische Wilhelms-Universität Münster), 2013
The concept of skeuomorphism, meaning the imitation of a vessel shape and/or a decorative technique in another than the original material is of particular importance for the study of the relationship between the production of vessels in different materials. An important indicator for skeuomorphism is the reproduction of a particular trait of another object in the production of a new one, even if this trait would actually no longer be necessary or no longer serves its original purpose. Morphological correspondences can frequently be identified between glass, ceramic and metal vessels of the Roman imperial period in large numbers. The closer investigation of these reveals alternative interdependencies between glass and ceramics whereas unilateral influence seems only possible for the relationship between toreutics and glass. It becomes obvious that the development and distribution of vessel shapes in different materials at different stages of the Roman Empire followed certain rules. These rules were dictated by the tastes of the customers, obviously subject to constant and dynamic changes. The evidence suggests that conscious or unconscious imitation seems to have been at play more often than genuine imitation. However, some vessel shapes are so similar in different materials that one must assume a real and conscious imitation. This is particularly the case if both shape and decoration match. Impulses from other materials in the production of glass vessels are noticeable primarily during the period following the invention of glassblowing in the first half of the 1st century BC. Especially in Italy where this technical innovation was not known until a few decades later there was an enormous increase in glass vessel production, making necessary new shapes, previously unknown in glass. Equality of shape between glass and ceramic or glass and metal vessels, therefore, occurs particularly in the 1st and in the first half of the 2nd century AD. The fact that there are fewer parallels in later times, is probably the result of the glassmakers increasingly developing own shapes and that such special shapes that were available only in glass, were more and more appreciated. The general development of the terra sigillata and glass vessel shapes was very similar during the entire imperial period. Analogous developments were taking place in both materials. So the artisans apparently followed the same general changing demands of the customers. In all material classes, however, only the shapes were adopted that could be made without major technical difficulties. For this reason there are many counterparts of vessels of other materials in the flexibly editable glass. In many cases very similar vessels made in glass and ceramics are probably to be explained with a parallel imitation of toreutic models. However, due to the small number of preserved metal vessels these models are not always identifiable. This lack of tradition is the main reason for many results of this study being applicable only to glass and ceramics, but not to toreutics. There is clear evidence that in ancient times a large number of vessel shapes were being imitated in a different material, but that the craftsmen included new elements in their work which were bound to this particular material.
Die Inschriften des Goldschatzes von Nagyszentmiklós / Sânnicolau Mare im byzantinischen Kontext
The Inscriptions of the Gold Treasure from Nagyszentmiklós / Sânnicolau Mare in the Byzantine Context None of the Byzantine inscriptions or inscription forms on metal vessels we know served as an immediate model for the inscriptions of Nagyszentmiklós / Sânnicolau Mare, which is certainly also due to the fact that the stock of existing possible models is as yet only insufficiently documented. In particular, it is possible that Bowls 9 and 10 imitated an actual, however lost or for the time being unknown, model. On the whole, there is no doubt that the inscriptions, even the rune inscription on Bowl 8, adopted the design vocabulary of the inscriptions on Byzantine vessels. In this context, much suggests looking for the spiritual environment of the inscriptions from Nagyszentmiklós / Sânnicolau Mare at at the western fringes of the Byzantine world.
Für die Ewigkeit! Altägyptische Steingefäße
Für die Ewigkeit! Altägyptische Steingefäße / Aegyptiaca Kestneriana 1, 2020
"For Eternity! Ancient Egyptian Stone Vessels" - Aegyptiaca Kestneriana (AegKestner) Band / Vol. 1 (2020) - Publication in conjunction with the exhibition of the same title at Museum August Kestner, Hannover / Germany (25 June - 27 September 2020) - for always the latest version see: www.aegyptiaca-kestneriana.de/b1/ - (in German)
Wunder Jesu auf ausgewählten (römischen) Zwischengoldgläsern
Convivium suppl. 2, 2022
versteht man eine spezielle Art von Gläsern1, deren Darstellungen in Goldfolie oder Goldmalerei zwischen meist zwei Glasschichten aufgebracht sind, weshalb sie im Englischen auch "sandwich glasses" genannt werden2. Derzeit sind über 800 solcher Fabrikate bekannt. Ihre Produktion war äußerst kompli ziert, weshalb sie beinahe ausschließlich nur in Rom hergestellt wurden. Außerdem waren sie wohl nicht bloß wegen der Goldfolie sehr teuer, weshalb man sie als Nobelgeschirr bezeichnen kann. Umso mehr erstaunt es, dass sie etwa in der Panfilokatakombe in Rom durchwegs an Loculus-, sogenannten Armengräbern angebracht sind. Erst in Zweitverwendung gelangten sie in oder an die Gräber. Auch ihre Datierung ist mangels meist nicht vorhandenem Fundkontext sehr schwierig, meist aber in das vierte Jahrhundert n. Chr. gesetzt. Von den zahlreichen Wundern Jesu finden wir bloß fünf (das Weinwunder, die Heilung des Paralyti schen, wahrscheinlich die Heilung der Blutflüssi gen, die Brotvermehrung und die Auferweckung des Lazarus) auf römischen Zwischengoldgläsern3. Angeschlossen ist auch eine Auswahl der ein zelnen durchwegs auf Nuppen auftretenden Stab träger, die einst wohl jeweils durch eine zweite Darstellung ergänzt wurden. Fallweise treten sie auch in alt-und neutestamentlichen Bildzyklen auf, wo sie dann nur durch das Phänomen der sogenannten Typologie zu erklären sind. Weinwunder Ein sehr gut erhaltenes römisches Zwischengold glas in der Biblioteca e Museo Oliveriani von Pes aro [Abb. 1] unter Inv.-Nr. 3833 ist ein weißlicher Abstract-The Miracles of Jesus on Selected (Roman) Gold Glasses-The Romans used "Zwischengoldgläser", a very special type of glass in which images were rendered in gold or gold foil sandwiched between layers of glass, for representations of particular importance such as the miracles of Jesus. Because of the gold, production in this medium was extremely complicated and costly, and it was carried out almost exclusively in Rome, where works in "gold glass" were termed noble tableware. More than 800 examples are known today. After regular use, gold glass vessels found their way into or onto graves, where they were used a second, perhaps commemorative, time. Their dating is very difficult owing to a lack information about the contexts of their discovery, but it is usually placed in the fourth century ce. Of the numerous renderings of the miracles of Jesus, only five were fashioned in Roman gold glass. Several depictions of Christ with the wand can be found on these objects, each of which probably supported supplementary, second depictions of biblical figures. Some of these also appear in Old and New Testament pictorial cycles, where they can only be explained by the phenomenon of so-called "typology".