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Барбалат, О. В., and О. В. Школьна. "ВІЗАНТІЙСЬКО-КИЄВОРУСЬКІ ЕМАЛЬЄРНІ ТРАДИЦІЇ У ДИЗАЙНІ СУЧАСНИХ ЮВЕЛІРНИХ ВИРОБІВ УКРАЇНИ." Art and Design, no. 2 (September 21, 2020): 14–26. http://dx.doi.org/10.30857/2617-0272.2020.2.1.
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The purpose of this research is to understand the integration of the Byzantium-Kyivan Rus enameling traditions in modern Ukrainian jewelry design. The research is applied historical-cultural and artistic-design scientific approaches in combination with comparative and presentation methods. The results of the research prove the influence of Byzantine and Kyivan Rus enamel traditions on modern Ukrainian jewelry. The stylistic and artistic features of the items were examined on example of outstanding enamel jewelry of Byzantine and Kyivan Rus time. As a result the main principles of design requirements and quality of hot enamel jewelry were defined. This research highlights the principles which elites, as bearers of the highest spiritual values, used as guide lines when choosing and ordering jewelry products in ancient times. In order to understand the manufacturing and producing ancient enamel jewelry pieces the ancient jewelry centers are being studied and characterized in this research. We have analyzed the influence of Byzantium and Kievan Rus enameling traditions on the modern Ukrainian jewelry design. Also we studied how it changed with changing the conditions and intensity of manufacturing. Thanks to this research it has been explained how the Byzantine and Kievan Rus enameling traditions influenced modern Ukrainian jewelry design. The researchers were determined to create a symbiosis of modern scientific and technical methods with the ancient hot enamel techniques. This way the research reveals the newest methods of working with hot enamel that are on their initial phase in modern Ukrainian jewelry industry. The material of this research can be used in development of academic disciplines related to enameling techniques and jewelry design. It can be used as a source of inspiration for creating new conceptual jewelry collections using hot enamel. This research can help influence modern jewelry design in Ukraine. Results of this research can be used not only to popularize the Byzantine-Kievan Rus jewelry traditions in Ukraine but also for quality representation of Ukrainian jewelry art in the world
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Stepanova, Yuliya. "Temporal rings with spiral ornamentation: the spreading area and chronology." Rossiiskaia arkheologiia, no. 4 (December 2021): 119–31. http://dx.doi.org/10.31857/s086960630010200-9.
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The paper considers one of the categories of medieval jewelry – temporal rings with décor made of spirally twisted wire. The study characterizes finds from Eastern Europe known to date and provides data on jewelry from Central and South-Eastern Europe. The temporal rings of different design of their ends and spiral decorations are identified. Jewelry of this type is associated with the Byzantine jewelry tradition. The finds are concentrated in Slavic sites along the Danube, in Serbia, Bulgaria and Southeast Romania. They are not numerous in Central and Eastern Europe. Their chronology, as in the Danube-Balkan region, covers the 10th–14th centuries, the largest number of finds belonging to the second half of the 11th–13th century. Rings with a spiral decor could enter Northern Rus both as a result of trade and with settlers from the southern Rus lands. A small number of finds indicate that this type of jewelry did not become the subject of mass production outside the Danube-Balkan region.
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Volodarets-Urbanovich, Ia V. "ABOUT ONE TYPE OF JEWELRY OF THE HEAD OF THE SLAVS: ON THE MATERIALS OF MALYI RZHAVETS AND MARTYNIVKA TREASURES." Archaeology and Early History of Ukraine 30, no. 1 (March 25, 2019): 201–17. http://dx.doi.org/10.37445/adiu.2019.01.16.
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The article analyses «bobo-similar» plates jewelry from Malyi Rzhavets and Martynivka — four specimens. In 1889 near the village Malyi Rzhavets was found a small treasure of women’s jewelry. In 1907, in the village Martynivka was found another treasure that included the women’s and men’s jewelry and Byzantine wares. Both complexes belong to the treasure of «Martynivka» type or the first chronological hoard-group by O. A. Shcheglova. One can assume the interpretation of these products as large temple ornament or decoration of scythe. Quite similar (though not entirely similar) bronze ware — lamellar temporal rings — are known in the antiquities of Roman times in Central Lithuania. The chronology of these jewelry — the phase B2 or B2 / C1 — 100—230 АD. Finds from Central Lithuania and treasures from Malyi Rzhavets and Martynivka differ in some design features, ornamental motifs and sizes. This can explain the chronological difference.
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Zhilina, Natalya V. "Volga Bulgaria and Old Rus’. Comparative Characteristics of Attire of Adornments in Reconstructions of the 11th – 13th Centuries." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 4, no. 34 (December 15, 2020): 125–44. http://dx.doi.org/10.24852/pa2020.4.34.125.144.
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On the base of typical hypothetical reconstructions according to the stages of the development of the attire upon archaeological material the comparative history of attires of two states is restored. At the end of the 11th – in the beginning of the 12th century and later, the features of heavy metal attire were preserved, in Volga Bulgaria – of Finno-Ugric and nomadic, in Old Rus’ – mainly of Slavic one. At the end of the 11th – the first half of the 12th century noisy attires of different designs were formed. In the first half – the middle of the 12th century filigree, niello, openwork weaving were combined in Bulgarian jewelry. Adornments were complemented with bead pendants of new shapes. In Rus’, enamel attire of the sacred-ascetic style created innovations, the niello one was distinguished with a variety of ornamentation (wide bracelets), the filigree retained Slavic traditions. At the end of the 12th – the first third of the 13th century the best jewelry was created. In Bulgaria the temporal rings were complemented by a miniature filigree sculpture, necklaces and chains with pendants presented. Original filigree bracelets with oval endings were famous. In Rus’, enamel and black attires were made in exaggerated and lush styles; luxurious frames of jewelry with filigree technique were used. Filigree attire changed constructively, moving away from folk traditions. In Bulgarian attire the traditions of local and eastern jewelry combined; in Russian attire – of local and Byzantine jewelry.
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de Bruijn, Erik, and Dennine Dudley. "The Humeima Hoard: Byzantine and Sasanian Coins and Jewelry from Southern Jordan." American Journal of Archaeology 99, no. 4 (October 1995): 683. http://dx.doi.org/10.2307/506189.
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Mastykova, Anna. "About Bracelets with Zoomorphic Ends from Dzhurga-Oba Necropolis in Eastern Crimea (Great Migration Period)." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2019): 169–80. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.11.
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The paper considers burial 40 of Dzhurga Oba necropolis in the Eastern Crimea. Two bracelets, elements of a prestigious female costume of the second half of the 5th century and weapons (sword elements) were found in the catacomb. It is possible that there were two inhumations – male and female ones. Two bronze gilded bracelets from this burial have gold zoomorphic endings in the form of heads, usually interpreted as dragons, and a hinged lock in the form of a disk. The origins of this type of bracelets should be sought in the traditions of Mediterranean jewelry art. Bracelets with a lock in the form of a plate on hinges appeared in the Mediterranean in the 2nd – 3rd centuries and existed until the 7th century (inclusive). It should be noted that there is a noticeable Byzantine / Mediterranean component in the female costume from Dzhurga Oba, which is represented primarily by the cloisonne inlay style jewelry – earrings, rings, bracelets. At the same time, the presence of a pair of brooches from the East German tradition indicates the mixed character of the female prestigious costume from Dzhurga-Oba, which is typical for the Cimmerian Bosporus of the Great Migration Period.
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Zhilina, Natalia V. "BYZANTINE ART AND ITS SLAVIC-RUSSIAN CONTEMPORANEITY. BASED ON MEDIEVAL JEWELRY ART OF 6–11TH CENTURIES." RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, no. 3 (2017): 9–25. http://dx.doi.org/10.28995/2073-6355-2017-3-9-25.
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Ashkenazi, D., I. Taxel, and O. Tal. "Archeometallurgical characterization of Late Roman- and Byzantine-period Samaritan magical objects and jewelry made of copper alloys." Materials Characterization 102 (April 2015): 195–208. http://dx.doi.org/10.1016/j.matchar.2015.01.019.
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Fischer, Svante. "The Late Roman and Early Byzantine Solidi of Scania & the Lund University History Museum." Journal of Archaeology and Ancient History, no. 30 (June 22, 2022): 1–66. http://dx.doi.org/10.33063/jaah.vi30.15.
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This paper is a study of the Late Roman and Early Byzantine solidi from the province of Scania in southern Sweden and the solidi kept in the coin cabinet of the Lund University History Museum. The catalogue lists 34 solidi and classifies the recorded issues according to modern numismatic standards using the current DOC, MIBE and RIC typologies. It is argued that most of the preserved coins from Scania are probably of different types than those originally imported during the solidus influx to Scandinavia. It is more probable than not that the vast majority of solidi imported to Scania in the fifth century came as war booty with returning veterans. As Scania may have had a more hierarchical structure than other parts of Scandinavia, it seems likely that most solidi were recast as ring gold or jewelry in an effort to concentrate wealth and power to inland central places. The few solidi that remain are mainly found along the shorelines of Scania, many of which are looped and have been worn as pendants. As symbolic manifestations of political alliances, these solidi have served a different function than most solidi preserved elsewhere in Scandinavia, notably on neighboring Bornholm, and Öland.
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Наталья Викторовна, Жилина,. "MEDIEVAL ATTIRE OF ADORNMENTS OF SLAVISH PEOPLES: HEAVY METAL ATTIRE (COMPARE ANALYSIS)." Вестник Тверского государственного университета. Серия: История, no. 3(63) (October 17, 2022): 56–74. http://dx.doi.org/10.26456/vthistory/2022.3.056-074.
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В статье проводится сравнение конструкции обильно-металлического убора разных славянских народов конца VI - IX в. Устанавливается, что архаичный днепровский головной убор конца VI - VII в. с проволочными височными кольцами со спиральным и S-овидным завитком и головным венком имел ленточную конструкцию, включавшую крупные боковые головные украшения, в нём использовались нагрудные цепи и шейные гривны. Для такого славянского обильно-металлического убора была характерна «шумящесть», сохраняющаяся и впоследствии. В конце VII - VIII в. у славян распространились византийские звездообразные украшения и собственные формы украшений, появились признаки ювелирного убора, всё большее распространение получил ожерелья из бусин. Архаичный славянский убор или его элементы продолжали существовать в IX в. и в последующее время. Делается вывод, что конструкция убора из украшений славянских народов в целом была сходной, при этом убор из украшений в каждом из славянских регионов прошел оргинальный путь формирования - с течением времени на базе конкретной суммы влияний, новых навыков и собственных традиций оформлялись некоторые детальные различия и возникали оригинальные формы украшений и деталей конструкции убора. The purpose of the article is to compare the construction of the attire of adornments of different Slavic peoples, the period of the end of the 6- 9 centuries is considered. The construction of the attire of adornments of the Slavic peoples was generally similar. Some detailed distinctions have been carved out over time based on a specific amount of influences, new skills, and own traditions. There were original forms of adornments and details of the construction. The medieval attire of adornments corresponds to two stages of regular development: a) heavy metal; b) jewelry. In this article a heavy metal attire is considered. Archaic Dnieper headgear of the late 6-7 centuries with temporal rings and a head wreath had a tape construction, including large side head decorations. Slavic peoples use wire temporal rings with a spiral and S-shaped curl, convenient for fastening. Such a property of the Slavic heavy metal attire as «noise» is also revealed, which persists later. Chest chains and hryvnias are used in the dress. At the end of the 7 - 8 centuries Byzantine star-shaped and their own forms of adornments spread among the Slavs. There were signs of jewelry attire. More and more bead necklaces were used. The archaic Slavic attire of adornments or its elements continued to exist in the 9 century and during the development of subsequent jewelry variants. The attire of adornments in each of the Slavic regions went through an original path of formation.
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Khairedinova, Elzara. "Finger Ring Amulets with the Image of the Holy Rider of the 7th Century from the Crimea." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija 26, no. 6 (December 28, 2021): 52–67. http://dx.doi.org/10.15688/jvolsu4.2021.6.4.
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Introduction. The group of jewelry with Christian symbols that existed in the Crimea in the early Middle Ages includes cast bronze rings, on a flat shield of which the image of a holy rider with a cross in his hands is engraved. The rings were found in the South-West Crimea in the burial grounds near the village of Luchistoe, Skalistoe and EskiKermen, as well as in Kerch at the early medieval necropolis of the Bosporus, in the burials of the 7th century. Methods. For the attribution of published products, a circle of analogies is identified, findings from the territory of the Eastern Roman Empire are analyzed. The iconography of the holy rider is compared on various subjects. In the Crimea, three of the published finger rings were found in in situ burials, as part of a closed complex, together with tools with a narrow dating, which makes it possible to clarify the time of existence of this type of products in the region and to determine the method of wearing it. Analysis. The plot depicted on the finger rings has an undeniable resemblance to the scene of the solemn entry of Jesus Christ into Jerusalem, described in all four Gospels and well known from the numerous pictorial monuments of the early medieval period. The iconography of that scene originated in the era of Constantine the Great, under the influence of imperial art and in many ways corresponded to the Triumphal entry of the emperor to Rome or any large city of the empire. The image of Christ the rider on the Crimean finger rings belongs to the iconographic type, which became widespread in the 6th–7th centuries, mainly in Egypt, the Syro-Palestinian region and Asia Minor. The quality of execution of the published rings from the Crimea allows us to speak about their local production. Byzantine products that came to the peninsula thanks to stable trade relations with the empire or were brought by pilgrims from holy places served as models for the Crimean artisans. In the minds of ancient Christians, the image of Christ the rider had a powerful protective power. Placed on the shield of the ring, it endowed the decoration with the properties of an amulet, protecting the person wearing it from all troubles. The rings originating from Crimea belonged to a teenage girl and young women who wore them on their hands – on the right index or ring finger, or in special belt bags, in which, in addition to utilitarian items, various amulets were also put. Results. The study of rings makes it possible not only to expand knowledge about jewelry that existed in the early medieval times, but also to replenish our information about the daily life of the Christian population of the early medieval Crimea.
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Frfulanović-Šomođi, Dragana. "THE COSTUME OF FOUNDERS OF THE KREPIČEVAC MONASTERY." Knowledge International Journal 34, no. 3 (October 4, 2019): 751–57. http://dx.doi.org/10.35120/kij3403751f.
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In the late Middle Ages, upon the establishment of Turkish rule in the central Balkans and the former territory of the Serbian Despotism, the not so many endowments of local greats were raised, in which art, in a more modest way, was still nurtured in the spirit of the Byzantine tradition. The Krepicevac Monastery is an endowment to the history of little known Georgio, Jan's son, as it stands in fragments of a preserved inscription. There are also mentions of Zora and Manojlo, and it would be assumed that they are members of one family. The fresco composition of donors shows Georgio singled out for dominance, carrying the model of the temple in the hands he offers to the Virgin. It does not deviate from the set norms in the depictions of the endowers, whether they are local lords or members of high nobility. These portraits pay special attention to the clothes of the founders, which have some deviations from the known fashion of the medieval lords, as a result of the influence of new trends. The work originated with the idea of analyzing the clothing and jewelry of the tinsel and finding parallels with the clothing of endowers of the late XV and XVI centuries. Caftan is a new garment originated in the Eastern tradition. The richness of floral motifs and prints indicates of the more expensive fabrics of their garments preserved probably for the most festive occasions. The very act of donating, famous as the way of clothing, respects the canons in portraiture in paintings. It illustrates the power of this great local man and his family, who was well versed in the Christian tradition, but also in the fashion of their time.
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Барбалат, О. В. "ЗНАКОВА СИМВОЛІКА ФІТОМОРФНИХ ОРНАМЕНТІВ ВІЗАНТІЙСЬКОГО ЗОЛОТАРСТВА IV–IX СТОЛІТЬ." Art and Design, no. 2 (August 11, 2021): 63–74. http://dx.doi.org/10.30857/2617-0272.2021.2.6.
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Purpose of the research is to analyse of the peculiarities of the symbolic meaning and specific use of phytomorphic ornamentation in Byzantine goldsmithery of the IV–IX centuries. Methodology.The research is applied historical-cultural and art critic approaches combined with comparative and presentational methods. Results.The results of the research prove the relationship between Eastern and Greco-Roman traditions of using floral ornamentation in Byzantine jewellery in the IV–IX centuries is highlighted. The traditions and application of floral ornamentation in Byzantine jewellery of the indicated period are identified. The system of transformation of plant motifs into meaningful symbols of spiritual truth embedded in Christianity is analysed. The stylistics, symbolic meaning and artistic peculiarities of plant ornaments applied in jewellery of the above period are investigated on the example of outstanding jewellery items. Jewellery items decorated with floral ornaments from the early Byzantine and iconoclastic periods from renowned museum collections worldwide are examined. The peculiarities of the sign symbolism of phytomorphic ornaments in the Byzantine jewellery of the IV–IX centuries are identified. Artistic technologies and terminology of the Byzantine goldsmith's period are characterized and specified. Scientific novelty. The sign symbolism of phytomorphic ornaments in the Byzantine goldsmith's art of the IV–IX centuries was investigated in a comprehensive way. The causes for the use of phytomorphic ornaments in jewellery items of that time as elements specifying Christian images at certain stages of their canonical formation have been revealed. The article proves the importance of the use of the sign symbolism of phytomorphic ornaments in Byzantine jewellery for further qualitative formation and perfection of Christian traditions. Practical significance. The material of this research can be reflected in the writing of academic disciplines related to artistic technologies in jewellery. As a source of inspiration they can be applied in the process of creating new jewellery collections of Christian themes.
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Khairedinova, Elzara. "Finger Rings with the Image of Archangel Michael of the Late 6th – 7th Centuries from Crimea." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (January 2020): 32–46. http://dx.doi.org/10.15688/jvolsu4.2019.6.3.
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Introduction. In the Early Middle Ages, Crimea was in the sphere of influence of the Eastern Roman Empire. In the material culture of the Early Medieval population of Crimea imprinted with archaeological monuments “Byzantine components” are quite clearly visible. The group of jewellery that clearly demonstrates the Byzantine influence includes bronze finger rings with the image of Archangel Michael originating from the GothoAlanian burial grounds of the South-Western Crimea and from the necropoleis of the Kerch Peninsula. The article substantiates the attribution and dating of the finger rings, reveals a circle of analogies, interprets the meaning of the images, and also considers the peculiarities of wearing this type of jewellery. Methods. The author determines dating of the Crimean findings by the accompanying inventory in the graves. The paper reveals a circle of analogies for the attribution of the finger rings, analyzes findings from the territory of the Eastern Roman Empire and from areas with political and economic ties. Analysis. In the late 6th – 7th centuries bronze finger rings with the image of Archangel Michael imported from Byzantium and produced in local workshops on imported samples were popular in Crimea. The signet ring of variant A of the late 6th – the first quarter of the 7th cc. with a profile portrait of the Archangel and the monogram of his name, undoubtedly, refers to Byzantine products brought from Asia Minor. The two finger rings of variant B engraved with the face and the almost full-length figure of the Archangel were made by Bosporan artisans in the 7th century on the Byzantine samples. The finger rings from Crimea depicting the Archangel belonged to young women who had a high social status. They were worn on hands, as a rule, on the right forefinger and in breast necklaces that connected fibulae. Christian symbols and plots placed on signet rings, in the view of the ancient Christians, should have given the jewellery the properties of an amulet which protected the person wearing it from all sorts of troubles. Results. The presented finger rings depicting Archangel Michael are an important source for studying the early stage of the history of Christianity in the South-Western Crimea and the Bosporus. Findings of this kind testify to the unity of culture in the Christian world and are a good example of close economic and cultural ties between the region and the Byzantine Empire in the Early Middle Ages. Key words: South-Western Crimea, Bosporus, Crimean Goths, Byzantine jewellery, finger rings, amulets, Archangel Michael.
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Oddy, Andrew, and Susan La Niece. "Byzantine gold coins and jewellery." Gold Bulletin 19, no. 1 (March 1986): 19–27. http://dx.doi.org/10.1007/bf03214640.
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Tolkachov, Yu I., and O. Yu Zhurukhina. "GLASSWARE FROM THE EXCAVATIONS ON THE TERRITORY OF THE MEDZHYBOZH FORTRESS IN 2015." Archaeology and Early History of Ukraine 29, no. 4 (December 22, 2018): 226–29. http://dx.doi.org/10.37445/adiu.2018.04.10.
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Excavations conducted on the territory of the Medzhybozh Fortress in 2015, explored the cultural layer, in which among various archaeological material were found objects of glass. Finds are divided into three categories: vessels, jewelry, and decor elements. Most of them are jewelry: the bracelets and beads. The vessels, beads, and bracelets, according to their morphology and technology, have Ancient Rus’ origin. Some of the bracelets were produced in Byzantium. The fragments of the window glass belong, probably, to the later period.
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Ostrowski, Donald. "Methodological Traps, Pitfalls, and Fallacies in the Study of Intellectual Silence." Russian History 46, no. 2-3 (August 27, 2019): 225–37. http://dx.doi.org/10.1163/18763316-04602005.
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This article is a response to four responses to my book Europe, Byzantium, and the “Intellectual Silence” of Rus’. That book in turn responded to the question posed by Francis Thompson, “Where was the Russian Peter Abelard?” It began with two premises − that theology was “the crown jewel of disciplined thought” in both the Eastern and Western Churches during the medieval period and that medieval Christian theology represented an amalgamation of prior Christian thought with Neoplatonism. The literature of early Rus’ was little more than what would have been contained in a large Byzantine monastic library, because those in charge of educating the newly baptized pagan Rus’ on the basic principles of Christianity felt compelled to provide them only necessary information to save their souls. But why did the package not include the seven liberal arts (including dialectic), which were the basis of the Western Church curriculum?
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ΚΑΡΔΑΡΑΣ, Γεώργιος. "Μεταξύ Αττίλα και Βαϊανού. Το Βυζάντιο και οι νομαδικοί λαοί από το 453 έως το 558." BYZANTINA SYMMEIKTA 24, no. 1 (November 5, 2014): 67. http://dx.doi.org/10.12681/byzsym.1139.
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MANOJLOVIĆ NIKOLIĆ, VESNA. "ANTHROPOMORPHIC REPRESENTATIONS ON MEDIEVAL RINGS IN SERBIA." ИСТРАЖИВАЊА, no. 27 (December 19, 2016): 45–57. http://dx.doi.org/10.19090/i.2016.27.45-57.
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Jewellery represents a very indicative and chronologically sensitive type of archaeological material, expressing the fashion and style of a certain period, and certain examples have characteristics related to specific cultures and indicating ethnic affiliation of persons wearing it. Medieval rings, just like jewellery in general, represented an integral part of the traditional garb as well as a decorative piece that an individual carried in life and was often buried with it too. Their unchanging shape makes them the most conservative piece of jewellery, which has retained the same form until the present time. What varied through time/space were materials the rings were made of, the quality of production, the choice of motives and also the appearance of the hoop and the shape of the head of the ring.This paper offers an analysis of medieval rings with anthropomorphic representations. According to the number of figures represented on the head of the ring, two groups are distinguished: rings with one or with two human figures. With respect to the elements represented alongside the figure defining it more precisely, the first group includes rings with warriors and holy warriors. With respect to the variations in compositions with two figures, we can distinguish four groups of rings: the ones with a cross between human figures; the ones with hands raised in the act of benediction; the ones with a halo; the ones without a halo around the figures’ heads.The rings are dated back to the 12th century and the first decades of the 13th century. According to results of archaeological research, they are mostly found on necropoles in Eastern Serbia. Similar to the most of the rings from this period, they belong to the Byzantine cultural circle, i.e. they imitate Byzantine models, and certain examples can be linked to the strengthening of Christianity among the Slav populations of the Balkans.
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Kazanski, Michel. "Early Byzantine Elements of Prestigious Horse Harness with Cloisonné Inlaid Decoration in the Post-Hunnic Period (Eastern Europe, Danube Area, and Eurasian Steppes)." Materials in Archaeology, History and Ethnography of Tauria, no. XXVI (2021): 57–70. http://dx.doi.org/10.37279/2413-189x.2021.26.57-70.
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The elements of prestigious horse tack of the Early Byzantine origin, decorated with cloisonné inlay style decor, have long been identified among the steppe nomads of the Post-Hunnic Period (the so-called Shipovo horizon from the second third of the fifth to the second third of the sixth centuries), as well as among the sedentary barbarians in Eastern and Central Europe. These finds include disc-shaped badges or plaques or appliques, rectangular belt-ends, and horse bits with zoomorphic images. Now it is difficult to infer specific mechanisms for the distribution of prestigious early Byzantine artefacts in the Barbaricum in the Post-Hunnic Period. It looks like that apart from the usual military trophies these items could have been included in diplomatic gifts. Written sources testify to specific cases of donation of horse accessories (saddles) to barbarian leaders. Along with weapons, these artefacts could also be obtained as a result of a symbolic investment of the Empire’s allies on behalf of the emperor. The hypothesis of making the artefacts in the cloisonné inlay style directly in the Barbaricum seems less probable, though the presence there of craftsmen including those who knew the technique of the Constantinople jewellery “school” is quite possible. However, it should be remembered that the technique of sawing and processing precious stones was particularly complex and was owned by a very limited number of craftsmen. Therefore, the overwhelming majority of barbarian jewellery pieces from the Hunnic and Post-Hunnic Periods used the secondary-used stones, in contrast to the case of the finds in steppe, like those from Morskoi Chulek, Bylym-Kudinetovo, Ialpug, or Altynkazgan. Rather, the latter were made in the Mediterranean workshops.
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Жилина, Н. В. "AROUND SUZDAL NECKLACE." Archaeology of Vladimir-Suzdal land, no. 10 (December 25, 2020): 132–45. http://dx.doi.org/10.25681/iaras.2018.978-5-94375-340-4.132-145.
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Ожерелья из медальонов XII-XIII вв. с Деисусом и орнаментальными композициями из древнерусских кладов имеют стандартный облик. В статье А. С. Уварова по поводу ожерелья, найденного под Суздалем в 1851 г., намечена история категории христианских ожерелий. Формы византийских ожерелий отличаются от древнерусского стандарта, аналогий которому нет в Западной Европе и славянских странах. Но византийские прототипы имеют продолжение в древнерусском материале: категория христианских гривен; разнообразные, нестандартные подвески с христианскими сюжетами, орнаментальными композициями, драгоценностями. Эта более ранняя группа материала XI-XII вв. важна как связующая с ранневизантийскими формами. Комплекты древнерусских ожерелий складывались не всегда единовременно, в них присутствуют различные по времени изготовления части. Есть основания считать древнерусские ожерелья из медальонов с христианскими сюжетами созданием древнерусской культуры, собственной разработкой византийских прототипов. Necklaces of medallions of 12th-13th centuries with Deesis and ornamental compositions from hoards of Old Rus' have a standard image. A.S. Uvarov in article about necklace founded near Suzdal in 1851 outlined the history of the category of Christian necklaces. The forms of Byzantine necklaces differ from the Old Rus' standard, also there are no analogies in Western Europe, Slavic countries. Nevertheless, Byzantine prototypes have a continuation in the material from Old Rus': category of Christian torques; various, non-standard pendants with Christian subjects, ornamental compositions and jewels. This early group of material of 11th-12th centuries is important as a link to early Byzantine forms. Sets of Russian necklaces were not always formed at the same time, they contain different parts according to the time of manufacture. Necklaces of Old Rus' consisting from medallions with Christian plots were creatings of an ancient Russian culture and as own development of Byzantine prototypes.
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Cvetkovic, Branislav. "Panagiarion of despotissa Barbara Frankopan." Zograf, no. 42 (2018): 119–38. http://dx.doi.org/10.2298/zog1842119c.
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The paper presents the results of analysis of typological, stylistic- technical, epigraphic and iconographic features of the luxurious panagiarion, part of a complex reliquary, in the treasury of the Tersatto Monastery near Rijeka. The size and content of the panagiarion, made of jewels, pearls and relics in silver gilded revetments, provide basis to classify it within the group of Late Byzantine pectoral panagiaria-reliquaries and enkolpia of diverse forms. The dedicatory inscription on its reverse refers to despotissa Barbara Frankopan, the wife of the Serbian despot Vuk Grgurevic, as its patron. The inscription on its rim and capsule with a miniature relief of the Virgin with Christ place it within the field of Orthodox personal devotion.
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Kushch, Tatiana. "The Tunic of Christ and the Crown Jewels: Relics in the Byzantine Diplomacy of the Fourteenth Century." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija 26, no. 6 (December 28, 2021): 161–70. http://dx.doi.org/10.15688/jvolsu4.2021.6.14.
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ntroduction. This article discusses the “reliquary diplomacy” introduced by Emperor Manuel II Palaiologos during the Ottoman siege of Constantinople (1394–1402). The emperor widely used the relics in the creation of the anti-Ottoman alliance. This article addresses a specific case of this diplomatic practice, Manuel II Palaiologos’ request to Venice for a loan for the deposit on the Tunic of Christ and other relics. Methods. From the juxtaposition of sources and the comparative analysis of the fourteenth-century relations between Byzantium and Venice there are good reasons to discover the motives behind the Venetians’ denial of the emperors’ proposal. Analysis. After 1261 Constantinople kept numerous relics, particularly the Seamless Tunic of Christ and the Purple Robe. The sources in possession do not allow an unequivocal conclusion if the artifact offered to the Venetians was the Seamless Tunic or another one. In the author’s interpretation, the reason of Venice’s withdrawal from the deal was the empire’s bad “credit history.” In August 1343, the Senate of Venice gave credit of 30,000 gold ducats to the Empress Anna of Savoy for the deposit of the jewels of the crown. The Venetians permanently reminded Byzantium about the repayment of the debt and the ransom for the jewels, and, moreover, offered to take the island of Tenedos as a compensation. Therefore, the unsolved problem of the old debt made the new deal with the emperor hopeless in the Venetians’ eyes. Results. The case under analysis sheds light on the state of the Empire in the late fourteenth century. Manuel II Palaiologos put into the “diplomatic circulation” the relics which were convertible in the Christian West. The failure of his negotiations with Venice turned him to active search for other allies, whom he sent parts of the Tunic of Christ in order to gain their military and financial support.
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Кузнецова, В. Н. "Rare types of Ancient Russian Adornments in the Form of Birds and Beasts." Археология и история Пскова и Псковской земли, no. 33 (December 25, 2018): 253–63. http://dx.doi.org/10.25681/iaras.2018.978-5-94375-278-0.253-263.
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В российской историографии принято считать, что большинство зооморфных подвесок связано с финно-угорской традицией. Однако украшения, которые не связаны с ней, появляются к XII в. Они представляют собой образы, связанные с христианской традицией, такие как пара птиц, зайцы, львы, фантастические существа и т. д. Стилистика этих предметов напоминает композицию и орнамент зооморфных изображений в византийском и древнерусском искусстве. Подобные изображения представлены на ювелирных изделиях (колтах и браслетах), книжных миниатюрах, резьбе по камню и др. Russian historiography regards most of the zoomorphic pendants as related with finno-ugric tradition. However, adornments that aren’t associated with it appear by the 12 century. They represent the images related with the Christian tradition, such as the pair of birds, hares, lions, fantastic creatures, etc. The stylistics of these items resembles composition and ornament of the zoomorphic images in the Byzantine and Ancient Russian art. Similar depictions are presented on the jewellery pieces (“colts” and bracelets), book miniatures, stone carving, etc.
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Urdaş, Florica Ștefania. "Inele cu pentagramă." Hiperboreea A1, no. 10 (January 1, 2012): 20–23. http://dx.doi.org/10.5325/hiperboreea.1.10.0020.
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Abstract The studies from Xth and XIth centuries are based almost exclusively on archaeological findings and particularly the study of cemeteries. Plate finger rings were decorated with various geometrical, vegetable or zoomorphic. A variant of the ring finger is oval or circular plaque, carved with a pentagram. Pentagram ring is considered one of the most popular jewelery from Byzantine cultural area in the second half of the tenth century and the first half of the eleventh century. Rings with this setting occur discoveries in Bulgaria, Dalmatia, Hungary and Slovakia. P. Gatev placed pentagram rings in type II-1 and it dates from the tenth century and the first half of the following. G. Atanasov and V. Grigorov said that pentagram rings (type III) are quite common in old Bulgarian culture. Pentagram is required after the fourth century as one of the main Christian symbols. Is defined as an expression of geometric notion of man-four angles representing limbs and a head. At Odartsi in grave 286 was discovered a skeleton of a child with pit board and covered with lithic material. Inventory: left hand, ring pentagram (type IX A), occurs in association with ring loop, buttons with vertical splice. Elliptical plate playing a circle which is a pentagram surrounded by dots. On both sides of the ring is two stars.
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Kulakov, V. I. "ORIGIN OF HEAD CROWNS IN ANCIENT AESTIA AND PRUSSIANS." Vestnik Bryanskogo gosudarstvennogo universiteta 03, no. 07 (September 27, 2021): 99–109. http://dx.doi.org/10.22281/2413-9912-2021-05-03-99-109.
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The archaeological material of the south-eastern Baltic States contains several rare specimens of typeset head corollas for the antiquities of the Western Balts. The conclusions obtained as a result of the analysis of the head corollas of the Western Balts of the I-XIV centuries can be presented as follows: 1. Northern European masters at the beginning of our era created their own versions of head wreaths, based on examples of ancient votive wreaths. The latter were used both in triumphal events and at the burial of notable members of ancient society. It remains unclear under what conditions the Scandinavians could adopt the idea of a votive wreath, reworking it in the form of head corollas. 2. In phase B1, individual representatives of the northern tribes appear on Sambia, who brought crowns with them to the Amber Coast as part of the matrimonial "import", which were attached in especially solemn (cult ?) in cases of head covering. 3. In Roman times, head crowns did not find their place in the material culture of the population of the western outskirts of the Baltic world. In the early Middle Ages, through the mediation of master jewelers of south-eastern Europe, the tradition of wearing corollas made using Byzantine traditions spread in the Baltic States. It is possible that these traditions came to the Baltic States with groups of artisans along the Vislin trade route – the ancient Great Amber Road.
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Shulga, D. P., and M. O. Phylatova. "Sui Burials with Porcelain Vessels and Golden Roman Coins (Jiulongshan Burial Ground in Guyuan District)." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 737–41. http://dx.doi.org/10.17746/2658-6193.2021.27.0737-0741.
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In 2004, the Guyuan District (Ningxia Hui Autonomous Region of the People’s Republic of China), the Ningxia Institute of Cultural Heritage and Archaeology identified and investigated (during development-led excavations) the Jiulongshan burial ground and two burials (2004YKJM33 and 2004YKJM4), which probably belonged to the Sui era (581-618), based on the inventory (there were not epigraphic sources in the burial). These graves are remarkable from several aspects. First, each of them contained a golden coin of the Eastern Roman Empire (possibly a high-quality imitation of Justin I and Justinian the Great solids), perhaps used as jewellery (although among the majority of Chinese researchers, the version about the parallel use of golden coins as a means of exchange or accumulation of wealth is accepted). Second, the anthropological studies of the authors of excavations illustrated that the graves belonged to the Caucasian race or at least had many features. In Russianspeaking science, these materials are almost unknown, that is why we introduce them into the scientific circulation. Again, such finds prove the fact that the artifacts from the Byzantine Empire played a significant role in the life ofpopulation in China (not only in the Western Region but also in the Yellow River basin) in the early Middle Ages (both in the period of political fragmentation, and in the period of united medieval empires of the Celestial Empire, Sui and Tang). Note that there the coins (and their imitations) of Emperors from Theodosius II to Constantine V are found in the PRC.
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Baratte, François. "Late Roman Precious-Metal Deposits: Worth their Weight in Gold?" Britannia 43 (July 4, 2012): 427–30. http://dx.doi.org/10.1017/s0068113x12000426.
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Over recent years the question of ancient hoards, in particular of precious metal, coins, plate or jewellery, has been the subject of numerous considerations (notably S. Gelichi and C. La Rocca (eds), Tesori. Forme di accumulazione della richezza nell'alto medioevo (secoli V–XI) (Rome, 2004)) in order to try to grasp the characteristics of a complex phenomenon that relates to multiple aspects of society in whatever period is under consideration: the economy, social organisation, the possible role of the images … The difficulties encountered by researchers when addressing these problems are illustrated by the ambivalence, indeed the ambiguity in many languages of the term ‘trésor/hoard’. Richard Hobbs has thus chosen, very judiciously, to take as his subject here ‘deposits of precious metal’, which defines the topic perfectly. On the other hand, one could question the descriptor ‘late Roman’ when applied to the period covered here, five centuries, from a.d. 200 to 700. There could be discussion over whether the third century should be included in Late Antiquity; others will challenge whether the sixth century still belongs to that same world. But from the first page H. effectively corrects his title by stating that it also covers the early Byzantine period, something I would feel is a better definition. It may certainly be felt that these are just questions of nomenclature, but they do have their importance for the topic of this study. All the same, the important thing is that H. wanted to study an extended period, as stated by the book's sub-title. One cannot but approve of his choice.
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Razumov, S. N., N. P. Telnov, S. D. Lysenko, and V. S. Sinika. "EARLY MEDIEVAL STAMPING MOULD FOR BELT-ENDS FROM THE LOWER DNIESTER REGION." Вестник Пермского университета. История, no. 1(52) (2021): 61–69. http://dx.doi.org/10.17072/2219-3111-2021-1-61-69.
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A bronze stamping mould for belt-ends was found in 2016 on the outskirts of Slobodzeya on the territory of a multi-layered settlement on the left bank of the Lower Dniester. The item has traces of long-term use; the front side is badly worn out. The stamping mould shows a full-face anthropomorphic male face with a long mustache and beard. An analysis of the finds of early medieval metal stamping moulds for a belt set showed that the overwhelming majority of them are connected with the territory of the Eastern Roman Empire (urban centers) and the Avar Khaganate (graves of "jewelers"). Matrices are dated back to the 7th and 8th centuries. However, the study of items from belt sets with male guises led to the conclusion that such images were quite widely represented in the 9th–10th centuries in different areas, for example, in Moravia, the Upper Dnieper region, the Middle Volga region, the North Caucasus, and the South Ural region. Similar images on objects of toreutics, which had Byzantine and / or Iranian roots, appeared, according to available sources, in the 7th century. Then, parts of a belt set with alike images marking the high social status of the wearer were used by various peoples for several more centuries. It is highly probable that the published stamping mould is related to the nomadic Early Hungarian cemetery (to the sites of Subbotsevo type) (9th century), which was sunk into the Bronze Age barrow at a distance of about 1 km from the place of its discovery. In this case, the finding of the stamping mould may indicate the wintering place of this nomadic group, where the parts of the belt sets were made.
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Grotowski, Piotr Ł. "The Lost Cameo, the Vanished Statue of the Emperor and Constantine as a New Alexander." Vox Patrum 84 (December 15, 2022): 141–78. http://dx.doi.org/10.31743/vp.14119.
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The aim of this paper is to propose a reinterpretation of the meaning of the lost colossus of Constantine the Great from the Forum of his name in Constantinople, in the light of the iconography of the emperor on the cameo from the cathedral in the Pomeranian town of Cammin. Although the gem was lost during the last war, it is known to us thanks to archival photographs and the plaster cast housed at Göttingen University. On this basis, Gerda Bruns associated the jewel with the statue of Constantine on the porphyry column in the New Rome, and her identification has since been widely accepted by the scholarly milieu. In recent years one has been able to observe growing popularity of this interpretation among researchers, who however refrain in their studies from pointing to the consequences of such a reconstruction of the statue’s form.
The author of this paper points out that Constantine purposefully chose the iconographical type of Alexander-ktistes as a model for his own representation in order to allude to his great predecessor and the founder of a number of cities which bore his name. The iconography of the statue became then a part of the programme of the celebrations arranged on the occasion of the dedication of Constantinople, in which numerous references to Alexander played the key role. This new understanding of the colossus, placing its significance within the frames of political propaganda, better matches the actual historical circumstances and the ruler’s attitude towards Christendom than traditional interpretations which recognised the statue as Helios or Apollo, and thus introduced an incoherence — difficult to explain — in Constantine’s attitude towards the new religion. This cumbersome question, which baffled the inquisitive minds already in the Constantinople of the Byzantine era, will be considered unsubstantial if we correctly interpret the monument on the Forum solely in the political and propagandistic context.
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Søvsø, Mette Højmark. "Middelalderlige ringspænder – Typologi, datering og brug." Kuml 58, no. 58 (October 18, 2009): 183–211. http://dx.doi.org/10.7146/kuml.v58i58.26394.
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Medieval ring brooches from Denmark – Typology, dating and use Ring brooches are one of the most common types of jewellery from the Middle Ages. They consist of a closed frame with a fixed pin (fig. 1). The metal detector activity of recent years has increased the number of these brooches. They have not previously been dealt with separately in Denmark. This article is based on the collection and typological classification of 215 ring brooches from present-day Denmark. These brooches can be classified into seven types with 23 sub-types (fig. 2). Nine of the brooches have no Danish parallel. The frames are most often circular, but their form varies. The circular brooches (types 1-3) are the most common. They make up 83% of the Danish brooches, whereas other frame shapes are less common (fig. 3). The use of ring brooches arose simultaneously with the Byzantine fashion of dress from the 12th century. The fashion dictated long coats or kirtles for both sexes (fig. 4). The neck opening of the kirtles was equipped with a slit which was fastened with a ring brooch (fig. 5); the brooches were also used to fasten cloaks. The ring brooches can be dated to a period extending from the 12th century until some time in the 15th century. In the beginning, functionality had priority, but later ring brooches appeared which were solely for decoration or were used to attach other items to the clothing. Dating of the individual types is based on stylistic and archaeological criteria together with numismatic dates from hoards. The latter two dating methods in particular provide a narrower dating framework for some of the types; this applies to, for example, types 3 and 4.1 (fig. 8). The earliest example in Scandinavian art of the use of ring brooches is from around AD 1200 (fig. 15), whereas there are archaeological finds from Denmark from the second half of the 12th century. Fig. 8 provides an overview of Danish and foreign dates for the ring brooch types. Types 1 and 2 both occur in the 12th century, whereas the other types appear from the 13th century. Some of the types are seen across large parts of Europe. This applies, for example, to types 1.1, 1.3, 2.1 and 2.6. Others have a more limited geographical distribution, which reflects cultural and trade-related links. This applies to types 1.4, 2.5 and 3. Some brooches are unique to Denmark but all have parallels in other countries. This underlines the fact that there are, by and large, no unique brooches, but that they all have a greater or smaller distribution (figs. 12 and 13). The ring brooches are often made from various types of copper alloy, while precious metals are more rarely used (fig. 14). They occur in a series of social contexts and this underlines the applicability of this type of jewellery. Most of the types occur as precious metal as well as alloy, and the same decorative elements are seen on brooches of very different quality (figs. 7 and 10). Ring brooches were worn by both men and women and probably also by children. Their size can give an indication of who wore them and how. The visual arts are a good source in this respect (fig. 5). Other sources include wills and, in rare cases, inscriptions on the brooches themselves, revealing the sex of the person who wore them. The greatest diameter of the ring brooches lies typically between 20 and 29 mm. A group comprising 12 brooches differs in this respect, having a diameter of between 13 and 19 mm, and eight medium- sized brooches have a diameter of between 50 and 59 mm. A group comprising 10 brooches has diameters of between 60 and 96 mm. These large brooches were probably cloak-fasteners. Medieval jewellery was often associated with great symbolism. This could be through the material from which they were made, in the form of metal and precious or semi-precious stones which was ascribed special significance. The symbolic value becomes clearest through the many inscriptions of a religious or amorous nature (fig. 9). Ring brooches were, like finger rings, a symbol of fidelity and love, and their function as a fastener for a cloak became, in a figurative sense, a picture of chastity. Mette Højmark SøvsøSydvestjyske Museer
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Kulakov, Vladimir. "Origin of Symmetrical Composition in Decorative Art of the Viking Age." Izvestia of Smolensk State University, no. 1(57) (July 3, 2022): 178–86. http://dx.doi.org/10.35785/2072-9464-2022-57-1-178-186.
Full textAbstract:
For the first time, a symmetrical composition with figures of a deity standing on the godsof carnivorous animals appeared in the Middle Eastern art of the III–II millennium B.C. In the Mycenaean era, this composition became known to adherents of Hellenic art, who realized it both in painting and sculpture. This composition realizes the idea of their authors striving to convey to recipients the concept of the power of the depicted deity and his power over the animal world. A symmetrical composition with standing predatory animals, which is a clear
oriental innovation in the art of ancient Europe, was not represented on our continent in ancient and Hellenistic times. As a result of the gradual increase in the eastern influence on the art of late Rome, symmetry again became known to Europeans in
the products of provincial-Roman masters of the 5th century A.D. In late antiquity, goldsmiths in the Roman provinces used this composition on the parts of military belt sets. These images became models for the ancient German masters who represented
the God Wotan / Odin surrounded by mythical animals and birds dedicated to him.
The decorative art of the Viking Age, alien to symmetry, retains it only in the plot of the pagan canon «Odin and the Crows». Variants of this «pagan icon», realized in the decorative art of the Viking Age, came to an end in the Germanic world of a
composition with symmetrically located predators, which began in the Ancient East
in Akkadian time. In this case, we have a unique example of the multi-thousand-year existence of the pictorial motive, used by jewelers and stonecutters to make impressive images of mystical creatures. The predators surrounding them were intended to
symbolize the unearthly power of the deities.In Byzantium, a symmetrical composition remained relevant until the XIV
century. Modern and contemporary historypreserves paired images of predators in heraldic and architectural compositions. However, their genetic relationship with Ancient Eastern images requires additional study.
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Szabó, Ádám. "Mauric from Apahida (MAURICIUS ≈ MAURICUS)." Acta Musei Napocensis 58 (December 12, 2021): 175–98. http://dx.doi.org/10.54145/actamn.i.58.11.
Full textAbstract:
"Based on scattered finds, besides the well‑known Ist (1889) and IInd (1968/1969) “princely” graves in Apahida (Romania, Cluj County), dated to the Gepidic age (5–6 centuries AD) (Pl. I), there must have been a IIIrd princely grave there. Apart from these scattered finds, a sealring with a monogram (symbolum), found in Apahida – and kept in the Hungarian National Museum – (Pl. II/1–3) refers to the same. The retrograde monogram on the ring indicates that the sealring was not only a personal jewel, but also a functional tool used for authentication. Although the ring’s precise site in Apahida is unclear, it is still interpreted in connection to the Ist grave of Onachar, as a similar reading of the monogram is suggested to the one [Ona(c)har|us, cf. Szabó 2020a‑b] that stands on the namering. As the letter O of the namering does not appear in the monogram, and the letter M of the monogram does not appear on the namering, the presumption of identical names in case of the two rings can undoubtedly be turned down. Based on its shape, the monogram is a block or box monogram, which can be dated to the period between the 5th and 7th century AD (Pl. III/1). According to the characteristics of the monogram type, it shows every letter of the word and each letter appears only once. Monograms from this period usually contain either personal names or office names, with genitive ending. Due to these reasons as well, the former readings: Marc(us) [J. Hampel], Audomariuς [I. Bóna], Marιaς [J. Spier], Omacar(?) [C. H. Opreanu] are not adequate. Former literature suggested and used Latin and Greek as reading languages for the monogram. A Greek reading must be considered because there might be a Σ i.e. C (i.e. sigma lunata) letter, on the right side of the imprinted monogram (Pl. III/2). Based on the structure of the monogram and the reading rules of the monogram type, furthermore with regards to all the solutions provided by the identifiable letters conjoined in alphabetical order, the monogram gives the Latin MAVRICI (nom. Mauricius or Mauricus as well) reading (Pl. III/3, 5). A not likely, speculative Greek MAΥPIΣI (nom. Mαυρις) solution (Pl. III/4) could be considered at most a Graecism because of the Latin ‑i instead of a Greek ‑ou for the genitive ending. The “Germanized” nominative version of the name without the Latin ending is MAVRIC (Mauric). Until now, the name was unknown in Germanic milieu. The ‑ric (‑rik, ‑rich) ending might have contributed to the use of the name in Germanic milieu. The sealring was made in a Christian milieu, and its owner was probably a Christian, which is indicated by the long- or Latin cross (crux immissa) on the ring head over the monogram (Pl. III/1). Based on the cross and in the context of the Age (5th-6th centuries AD), it is uncertain whether thering‑owner belonged to the Roman, Byzantine or Arian church. I have found no long- or Latin cross paired with a Greek monogram, consequently the ring and its owner must be of Western origin. His name may be related to the soldier martyr Mauricius from Agaunum (Saint‑Maurice, Valais canton, Switzerland) and the spreading popularity of his cult among Christians. The name refers to the centre and point of origin of the St. Mauricius (Saint Maurice) cult, the territory of the Burgundian Kingdom, conquered by the Francs in the first quarter of the 6th century AD. Compared to the western Germanic type of the finds, namely the artefacts from the Ist‑IInd‑IIIrd(?) “princely” graves from Apahida [cf. Gáll et alii 2017, 26–28, nos. 9–10, 11–13], it can be assumed, that Mauric from Apahida – who can be examined in the same context –, was a western Germanic regulus who fled either from internal political conflict or from the Franc conquest. Similarly to the regulus “Onachar from Apahida” [Ona(c)har|us ≈ Aunacharius, cf. Szabó 2020a‑b], who – based on his name and personal artefacts – had also western Germanic connections, Mauric i.e. Mauricius or Mauricus also settled in the confine of the Gepidic world. He might not only have had a role in the appearance of the eastern Merovingian culture in Transylvania [cf. Dobos 2019], but also in the rise of the settlement in Apahida or its vicinity as a regional political‑administrative centre. The damages on the surface of the sealring with monogram indicate its presumably longer usage in a kind of “chancellery” practice."
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Ogden, Jack M. "Casting Doubt: Economic and Technological Considerations Regarding Metal Casting in the Ancient World." MRS Proceedings 185 (1990). http://dx.doi.org/10.1557/proc-185-713.
Full textAbstract:
AbstractThe lost wax casting technique is almost impossible to use if the finished object must be of a specified weight or must utilize all of a given batch of metal. This basic fact helps to explain why Old World ancient gold jewelry, particularly of Hellenistic, Roman and Byzantine origin, is almost always-hand wrought rather than cast. Similar considerations relate to the manufacture of copper-alloy weights or other objects which appear to be of pre-determined weight.
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Обломский, А. М., and А. Д. Швырёв. "A Byzantine Coin Weight Found in the Upper Reaches of the Voronezh River." Краткие сообщения Института археологии (КСИА), no. 250 (March 23, 2018). http://dx.doi.org/10.25681/iaras.0130-2620.250.307-326.
Full textAbstract:
В статье опубликована бронзовая гирька-экзагий для взвешивания золотой монеты – солида ранней Византии (solidus). Вес гирьки составляет 3,76 г, потери веса при окислении в земле – 0,3–0,5 г. Экзагий обнаружен на поселении Стаево-5 Мичуринского р-на Тамбовской обл., расположенном в верховьях р. Воронеж. Во время работ 2014–2017 гг. выяснилось, что поселки у с. Стаево имеют ярко выраженный ремесленный характер. На поселении Стаево-4 зафиксированы многочисленные остатки черной металлургии, а на поселении Стаево-5 – ювелирного (бронзолитейного) ремесла. Судя по набору украшений культуры престижа (фибулы, зеркала, амулеты, детали ременных гарнитуры) обитатели поселка имели довольно тесные связи с югом (Причерноморье, Северный Кавказ). Экзагий предположительно датируется VII в. К VI–VII вв. в бассейне Оки и в верховьях р. Воронеж относится серия вещей византийского происхождения, в т. ч. и монет. Не исключено, что поселок у с. Стаево был ключевым пунктом в верховьях р. Воронеж на торговом пути, связывавшем юг Восточной Европы и бассейн Оки. The paper publishes a bronze exagion (coin weight) used to weigh gold coins such as early Byzantine gold solidus. The exagion weighs 3.76 g, the loss of weight caused by oxidation in soil is 0.3–0.5 g. This coin weight was discovered at the settlement of Staevo-5, Michurinsk district, Tambov Region, located in the upper reaches of the Voronezh River. The 2014–2017 excavations found out that settlements near the village of Staevo had preserved traits of various productions. For example, numerous remains of ferrous metallurgy were recorded at Staevo-4, while remains of jewelry (bronze casting) production were documented at Staevo-5. Judging by a set of prestige jewelry pieces (fibulae, mirrors, amulets, details of belt sets, the inhabitants of the settlement had rather close links with the south (the Black Sea maritime steppes, the North Caucasus). The coin weight is, presumably, dated to the 7th century. A series of items of Byzantine origin, including coins discovered in the Oka River basin and the upper reaches of the Voronezh River, is dated to the 6th–7th centuries. It is quite possible that the settlement near the village of Staevo was a key location in the upper reaches of the Voronezh River on the trade route which linked the south of Eastern Europe to the Oka River basin.
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Леонтьев, А. Е., И. О. Гавритухин, И. А. Сапрыкина, and Л. А. Пельгунова. "A RARE FIND IN THE EARLY MEDIEVAL FORTIFIED SITE OF VYZHEGSHA." Краткие сообщения Института археологии (КСИА), no. 258 (March 2, 2020). http://dx.doi.org/10.25681/iaras.0130-2620.258.350-361.
Full textAbstract:
В статье рассмотрены обстоятельства находки золотой накладки на поселении лесной зоны VII–IX вв. н. э. Публикуются данные рентгенофлюоресцентного анализа состава металла, приведены сведения о технике изготовления, а также о некоторых схожих по облику вещах. Высокая проба металла и очевидные античные традиции ювелирной технологии позволяют полагать, что предмет является продукцией позднеантичной – византийской или близкой им по уровню мастерской. The paper reviews circumstances related to discovery of a gold plate at a settlement of the 7th–9th centuries located in the forest belt. It publishes data of the X- ray fluorescence analysis of the metal composition, provides data on the production technique as well as data on some artifacts of similar appearance. The high assay of the metal and clear jewelry traditions of the Classical period suggest that this item was made at a workshop dated to the Late Classical/Byzantine period or a shop of a similar level.
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"Similarities in iconographic art between rural churches from Transylvania in the 17th century and Caesarea of Cappadocia." European Scientific e-Journal, 2017. http://dx.doi.org/10.47451/art2020-11-005.
Full textAbstract:
The idea of the speech, goes round the importance of byzantine art inside Transylvanian orthodox culture, in the 17th century. The Göreme monastic Complex of Caesarea of Cappadocia has a considerable list of churches with relevant importance in Byzantine iconography. The popular character of this type of art developed on the walls of these architectural jewels manifests itself in the left-handed, but expressive and with such great spontaneity drawing: also with predilection for narration that lends many elements from the illustration of the Apocryphes, which were born from people’s inclination to very detailed stories. This byzantine style we have had for centuries and which is tight to our Christian roots, was cultivated in Wallachia and Moldova and Transylvania in the 14th and 15th centuries and the post-byzantine style in Wallachia in the 15th and 16th centuries. There are similarities between churches raised in the 17th century in Transylvania and the ones from Caesarea of Cappadocia. We refer mainly to the iconographic painting of the hunedorian churches
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Hetherington, Paul. "The Jewels from the Crown: Symbol and Substance in the Later Byzantine Imperial Regalia." Byzantinische Zeitschrift 96, no. 1 (January 2003). http://dx.doi.org/10.1515/byzs.2003.157.
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Williams, W. S., and J. W. Flanagan. "Analysis of Gold Hoard from Late Roman/Early Byzantine Period Found in Jordan." MRS Proceedings 462 (1996). http://dx.doi.org/10.1557/proc-462-155.
Full textAbstract:
ABSTRACTThirty-four gold solidi coins and two pairs of gold/jewel earrings were discovered at an archaeological site in Jordan, Tell Nimrin. The coins have stamped images of six late Roman/early Byzantine emperors who reigned from 346 AD to 518 AD. These objects were analyzed by X-ray radiography, SEM/EDS and density measurements to find the gold content for comparison with other coins ofthat period to support their authenticity and to see whether debasement of coinage had occurred. The average surface gold content was found by EDS to be 98.1 wt %--typical of the period--but the bulk content calculated from density values was 1 to 3 wt % lower. The reason offered is that when a molten gold-copper or gold-silver alloy solidifies, the region in contact with the blank coin mold freezes first and is gold-enriched. Small “silvery” specks were observed on the obverse (”heads”) side of several coins and found by EDS to be Os-Ir-Ru alloys, which come from placer mining and indicate that the gold also came from placer mining.