Sarmatians, Burial customs Research Papers (original) (raw)

The present article discusses the main issues concerning the necropolis from Șeitin–Imaș/Nimaș. According to the archaeological material, it belongs to a later period than the one deﬁned by Egon Dörner and Mihai Blăjan, namely to the end of the 4th – beginning of the 5th century. Another aim of the study is to clarify the problems related to the site and the connections of its material in the context of the Hun Period.

Diese Artikel begründet sich auf neuerlich entdeckte sarmatische Grabfunde. Dieser Fund
beschäftigt sich mit einem neuen Handspindeltyp bei einem der Sarmaten. Diese Handspindel
besteht aus einem Holzspindelstab, einem Spinwirtel aus Ton oder Holz, und einem eisernen oder
bronzen Spindelhaken. Die Spinnwirteln in den Gräber sind meist kegelig oder doppelkegelig,
manchmal scheibenförmig aus gebranntem Ton. Diese sind die unteren Teile der Spinnwirteln.
Auf dem oberen (meist spitzen) Ende des Spindelstabes befinden sich die Spindelhacken. Diese
1,2–4,2 cm langen fragezeichenförmigen Haken dienen zur Befestigung des Fadens. Die frühere
Forschung in Ungarn interpretiert diesen Fund als Nadel. Von der Abmessen in der Gräber in
situ Abstand liegende Spinnwirtel und Haken weisen aus, dass diese Handspindel war 20–40 cm
Lang. In der 1.–2. Jahrhundert die Sarmaten legen diese Gegenstand in die Nähe des Oberkörpers.
Später, in der 4.–5. Jahrhundert wir finden diese Handspindeltyp größtenteils neben, oder vor der
Beine. Diese Handspindeln waren fähig spinnen und auch zwirnen, also zusammendrehen von
mehreren Fäden zu einem Faden.

- by Pópity Dániel
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- Textile Technology, Barbarians, Sarmatians, Sarmatians, Burial customs

ON SARMATIAN-ALANIAN SUBJECT OF WALL PAINTING IN THE ‘CRYPT OF ANTHESTERIOS’ IN PANTICAPAEUN
According to the generally accepted opinion, the wall painting in the ‘Crypt of Anthesterios’ in Panticapaeum (the 3rd quarter of the 1st c. AD; published by M.I. Rostovtzeff in 1913) represents several scenes from the life of aristocracy of Bosporan capital. In reality, the core of this composition (fig. 1,1) is the picture of goddess sitting on a throne, World Tree to the left from her, approaching horseman – to the right. Similar representations dating to the 4th c. BC are known among Sakas and Massagetes of the Central Asia (the rug from Pazyryk, the seal of the 1th-2nd cc. AD from the South Turkmenistan), and since the late 2nd c. BC we find them in Kuban River region (Merdzhany).
The compositions from the Crypt could be compared with the mythological scenes of Indo-Iranians of the Eastern Europe: the Scythian diadem from Sakhnovka (the 4th c. BC) and the reliefs in the crypt of medieval Alans on Krivaya Riva (the 10th-12th cc.) (fig. 1, 2). These three representations includes 9-10 figures, a lot of iconographic details are very similar. That type of composition had been elaborated by Greek craftsmen in the 4th c. BC and was preserved for a millennium and half.
The Sarmato-Alanian compositions, in contrast to the Scythian ones, were connected with the funeral ritual. Archaic elements in Ossetian ‘Nart’ epic are important for understanding of these scenes. One of the variants of epic tell about a trip of a semi-god and ‘cultural hero’ Soslan to the Upper World (to Celestial Plane) where the souls of the dead live. He travels in a company of a younger friend. Soslan meets a goddess sitting on a golden throne which gives him magic food and drinks from the small golden tripod table (fyng). Some children (souls of the dead?) wait upon them. There are also two men sitting in ‘yurt’ nomadic mobile house (probably, two brothers in Ossetian tradition – the Son of Sun and the Son of Moon) who meet the dead in another world. On another wall two horses near the World Tree were depicted.
Among the Scythians, similar scenes depict the ‘sacred marriage’ of Fite goddess Tabiti and the ‘cultural hero’ Kolaxais (Raevsky D., 1977), and among the Sarmato-Alans – the marriage of nameless goddess (Tipati after T.A. Guriev reconstruction) and Soslan. This subject was depicted in Paticapaeum after the beginning of Sarmatian nobles’ sedentarization in the capital of Bosporus Kingdom and some marriages with local Greek elite (Lucian. Tox. 51).

- by Sergey Yatsenko
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- Religion, Iranian Archaeology, Iranian Studies, Nomadic Art
- by Liana Loredana Oţa
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- Sarmatians, Burial customs, Roman Archaeology

Colleagues of the Institute of Archaeological Sciences of the Eötvös Loránd University performed a rescue excavation at the site of Tiszakürt-Zsilke-tanya in 2018, within the series of excavations preceding the construction of the M44 motorway. Neolithic, Sarmatian, and Avar Age settlement sections and burials came to light on the hills situated on the left bank of the Tisza River. This preliminary report presents their most important finds and phenomena.

- by Kristóf Fülöp and +3
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- Linearbandkeramik, Sarmatians, Ochre, Middle Neolithic
- by Valéria Kulcsár
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- Sarmatians, Burial customs

Alcuni studiosi affermano che una prova della inconsistente presenza dei Sarmati in Britannia sarebbe anche dovuta dall’assenza di sepolture nelle colline rituali Kurgan, sepolture invece presenti nella pianura ungherese, zona di provenienza dei Sarmati Iazyges, inviati in Britannia nel 175 dc da Marco Aurelio.
La tesi, che appare disorganica ed errata, sarà affrontata e confutata nell’articolo.

- by Linda A . Malcor and +1
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- Kurgans, Sarmatians, Roman Limes, Arthurian Legend
- by Csilla Balogh
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- Sarmatians, Burial customs

Necropolis of the Middle Sarmatian Culture on the right bank of Dnepr had three barrows accumulations (figs. 1-2): the north-western (17 barrows with the rectangular graves prevalence), the central (22 barrows with approximately equal percentage of three types of graves and the female, male and children elite barrows concentration) and the south - most late placed on the uncomfortable hillside (34 barrows with the alcove graves domination). For some reasons the square pits with the diagonal location of dead (the smallest group) will be interpreted as the local elite attribute. In each barrow accumulation were more than 1/3 of barrows more high than 0.5 m. The results of some specific rituals and the looting peculiarities in each barrows accumulation were also analyzed.
ILLUSTRATIONS:
Fig. 1. Ust’Kamenka Necropolis: 1 – probable male barrow; 2 – probable female barrow; 3 – barrow with the dead of uneasy sex; 4 – cenotaph; 5 – adult and child in the same barrow; 6 – robbery; 7 – children barrow; 8 – non-excavated barrows; 9 – settlement’ borders; 10 – borders of the mains barrows’ accumulations.
Fig. 2. Ust’Kamenka Necropolis: 1 – rectangular pits; 2 – alcove pits; 3 – square pits; 4 – secondary graves in the barrows of Halcolithic and Bronze Ages; 5 – socio allocated graves; 6 – male graves with spear; 7 – female graves with weapons or horse harness; 8 – ritual pits in a barrow.
Fig. 3. Map of Sarmatia in the 2nd half of the 1st c. CE (after Yatsenko 2015б): I – points with the “king” graves; II – barrows of the “local chiefs”; III – ancient cities; IV – capitals; V – graves with diagonal dead pose in the North Azov Sea Region (after Simonenko 2000, fig. 4); 1 – Ust’-Kamenka.
Fig. 4. Secondary warriors’ graves with diagonal dead pose in the row of the early barrows (after Kostenko 1992), main artifacts: 1 – barrow 38; 2 – barrow 43; 3 – barrow 56.
Fig. 5. Female graves of the 1st – early 2nd cc. CE with the iron axe and the sarcophagus from Ust’-Kamenka: 1 – Kobyakovo, barrow 10 (after Prokhorova 1992); 2 – Peregruznoe I, barrow 38 (after Balobanova et all. 2014); 3 – Ust’-Kamenka, barrow 69 (after Kostenko 1992); 4 – Ust’-Kamenka, barrow 22 (after Kostenko 1992).