Trakijskite grobnici: architekturno-metrično izsledvane
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Sofijski Univ. "Sv. Kliment Ochridski", Istoričeski Fak., Katedra Archaologija
2005
|
| Schriftenreihe: | Studia archaeologica Universitatis Serdicensis
Suppl. ; 3 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | PST: The Thracian tombs. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache |
| Beschreibung: | 184 S. Ill., graph. Darst. |
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| 245 | 1 | 0 | |a Trakijskite grobnici |b architekturno-metrično izsledvane |c Dafina Vasileva |
| 246 | 1 | 3 | |a The Thracian tombs |
| 264 | 1 | |a Sofija |b Sofijski Univ. "Sv. Kliment Ochridski", Istoričeski Fak., Katedra Archaologija |c 2005 | |
| 300 | |a 184 S. |b Ill., graph. Darst. | ||
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| 490 | 1 | |a Studia archaeologica Universitatis Serdicensis : Suppl. |v 3 | |
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Datensatz im Suchindex
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|---|---|
| adam_text | СЪДЪРЖАНИЕ
УВОД
ПЪРВА ГЛАВА
Мерна единица за дължина употребена в строителството на траките.
Произход
ВТОРА ГЛАВА
Архитектурно проектиране и трасиране на гробниците
в Тракия през
Общи положения при проектирането
и трасирането на тракийските гробници
Архитектурно проектиране и трасиране на градени гробове
и гробници
Архитектурно проектиране и трасиране на гробници
с
Архитектурно проектиране и трасиране на куполни гробници
Проблеми на мегалитната гробнична архитектура.
Идея за произхода на конструкцията на фалшивия свод и купол
Архитектурно проектиране и трасиране
на гробници
ТРЕТА ГЛАВА
Казанлъшката гробница
Проектиране
Стенописи
ЗАКЛЮЧЕНИЕ
ЛИТЕРАТУРА
ПОКАЗАЛЕЦ
ПОКАЗАЛЕЦ НА ИЛЮСТРАЦИИТЕ В ТЕКСТА
ПОКАЗАЛЕЦ НА ТАБЛИЦИТЕ В ТЕКСТА
ЦВЕТНИ ТАБЛА
SUMMARY
INDEX OF ILLUSTRATIONS IN THE TEXT
INDEX OF TABLES IN THE TEXT
COLOUR PLATES
ПРИЛОЖЕНИЕ
The Thracian Tombs
Architectural-metrical study
(summary)
The problems of the tomb architecture
in Thrace are quite often in the scope of
interest of different specialists from vari¬
ous science fields
ans, architects, conservation specialists, art
critics. It is absolutely explicable consider¬
ing the variety of tombs, their number, the
continuous new shapes, which they pro¬
vide. Rare are the studies, which offer a
comprehensive study of a particular monu¬
ment, with the numerous problems, which
it poses or the studies tracing a problem
thoroughly.
In the presented study has been made
an attempt to trace thoroughly the proc¬
ess of the architectural-artistic realisation
of the Thracian tombs. Probably one of the
main reasons for the fact, that up to date
such study on the Thracian tombs has not
been made is due to the fact, that we do
not have any other data, besides the monu¬
ments themselves, which lay in the basis of
the reconstruction of the whole process
knowledge for the design, tracing, decora¬
tion and painting. Additional support for
the presented study is the data from other
divisions of the architectural history.
Based on the architectural-metrical in¬
vestigation of the layout schemes and the
construction of the known tombs with dif¬
ferent architectural shapes and covering
from Thrace are established many un¬
known features of their formation history:
1.
linear measurement (foot) employed in
the construction building of the Thracians.
The unknown so far problem of the de¬
gree of technical knowledge employed in
the Thracian tomb architecture has been
clarified.
2.
time necessity of architectural blueprints
and the means of their creation and reali¬
zation. It has been found the method of
projecting for the Thracian tombs.
The architectural-metrical study of the
Thracian tombs consists of three chapters.
In the first chapter has been discussed the
matter of the dimensions, territorial distri¬
bution and origin of the linear unit, which
the ancient Thracian tribes on the Balkans
have employed in their constructions. It is
usually accepted, that initially the Greek
(Attic) foot has been employed
the Roman and Byzantine ones. In series
of cases it was probably true, but is known,
that in Ancient Greece, as well as in Ancient
Rome have been used different feet for
length, which poses even more dramati¬
cally the question for the foot employed by
the Thracians. For the size and type of the
linear unit, which is used by the Thracians,
there are no written sources. Indirect data
could be yielded by the technical analysis
іб8
Dafina Vasileva
of the very monuments. Primary problem
in that case are the faults and deformations
in the monuments, which are result of var¬
ious reasons. And the employment of the
geometrical method in the erection of the
right angle and parallel lines leads to the
fact, that always one of the dimensions is a
starting point, and all the rest derive from
it, i.e. the search for the foot in this case
depends on the initial size.
In the ancient linear units, the span,
respectively the hand, is a subdivision of
the foot, and the elbow consists of a whole
number of feet. Observing this principle
the study is directed at the establishment
of the Thracian foot. The foot in question
is the number, which can divide the initial
dimensions of series of Thracian monu¬
ments without remainder for this common
measure
measure have been investigated
ments, tombs with vaulted and domed cov¬
ering from the territory of Bulgaria and
13
from Eastern Thrace,
Phrygia and
Apart from tombs with arched or dome-
shaped covering, as a significant compara¬
tive material have been examined also
masoned tombs with flat covering, with
semi-cylindrical vault
dolmens
of all
located in modern Bulgarian territory, and
69
After the selection of the monuments
and the establishment of the initial meas¬
ure, it is analysed by means of
in the literature feet, among which is the
one found in a Late Antiquity monument
-
several Roman and three Thracian monu¬
ments foot of
study were given the numerical analyses of
the following tombs
(Table I), the tomb of Hisopathe (Table
III) and the Kazanlak tomb (Table IV, IV
a and b). Thus, the number of the inves¬
tigated tombs is
dolmens and rock-cut tombs, this method
of approach was not necessary. The high
percentage of monuments giving a whole
number of
and employment by the ancient Thracians.
An examination with a
carried out (Table V and VI).
Evidence for the employment of the
cm foot is sought also in data, provided
by the numismatics. The relation between
the currency unit and the respective lin¬
ear measure, considering the fact that the
weight measure is identical with the cur¬
rency one and the so-called closed sys¬
tem . On the basis of the knowledge for
the existence of a closed system in Ancient
Babylon and Greece and taking advantage
of the fact, that the Hellenes divided the
talent in
drachmas is assumed, that the Thracians
did the same. The same names are used
provisionally. Accordingly the weight meas¬
ure can be calculated and consequently the
weight of the coin, proceeding from the
foot. So the weight of a talent will be equal
to
24389/6000 = 4.0648
4.065
is completely independent currency unit.
It distinguishes itself from the Eastern,
Attic and other drachmas and
its weight as well as by its origin and what
is most important
ent based on a
Thracian coin, respectively weight meas¬
ure is not just fictional, hypothetically es¬
tablished and supposed quantity, but actual
fact. Its weight is equal to
in our lands so-called decadrachmas of the
Thraco-Macedonian tribe Deroni.
Comparative calculations have been
made, which revealed that the drachma of
the Deroni
lation with the coins of the Bisaltae,
and the coins of the subsequent Thracian
rulers. The weight of the drachma, which
is minted by Bisaltae and
known
based on a
of
While the Deroni coin
a talent
tribes coin
In this situation, the coins with face value
(average)
those of (average)
Although there is devaluation, the initial
The Thracian Tombs
169
quantity of metal always remains the same,
since it is relative to a linear measure, and
therefore with the whole system which
does not change either. The devaluation of
the coins in my opinion is the main reason
for the lack of direct relation between the
Deroni drachma and those of the subse¬
quent Thracian rulers.
The study of the foot subdivisions is de¬
cisive. The divisions of the
established by analogy with the old Roman
foot, which were
The Thracian craftsman could have used
in his work a wooden or metal measure,
which had been marked with several feet
-
(1.74
amount of the studied artefacts however
does not provide the opportunity to draw
a conclusion for the time, when this foot is
set and what is its territorial distribution.
In order to answer this question, addition¬
al information has been gathered, which
makes it possible to prove, that the linear
measure system employed by the ancient
Thracians is included in the
systems of the Aegean world. The research
on this problem is based on the analysis of
architectural monuments and archaeologi¬
cal finds, belonging to the Aegean civiliza¬
tion, familiar to the scholars, but unused in
that respect.
Attention has been paid to the megara
from Troy II and IV, although the data
from their examination has been used at
the time of their publishing, when search¬
ing for the measure. The observations
made here point that the approach should
be altered. Since, defining the employed
measure the research-worker proceeds
from assumptions for the adobe dimen¬
sions, which is doomed to failure. The
analysis of the data allows the following
conclusions. The adobes have not been
manufactured as a commodity, but tai¬
lored for a particular building. That is the
practice till the end of Antiquity for the
construction of large buildings. The shape
and dimensions of the adobes conform the
width of the stonework, not vice versa. The
thickness of the groundwork depends on
two factors
building. Therefore, the shape and size of
the adobes have been established after the
width of the basis has been determined,
and the adobes have been made before the
commencement of the construction works.
Such practice suggests, that the layout has
been prepared in advance with definite di¬
mensions and material calculation. When
the adobes are manufactured by hand in
large quantities, this is the advisable and
economical practice, and the quantity on
its turn justifies the preparation of a cus¬
tom mould. Since the shape and size of the
adobes are determined by variables, which
in this case are the width and height of the
stone groundwork, they can not provide
us with the particular linear unit. Such
data could be yielded by the buildings, in
particular their width and the one of the
main chambers, assuming they have been
designed in whole number of feet. Nine
buildings from Troy have been analysed on
the basis of
II A, II B, II H, II K, VI C, VI
M. The results reveal, that within the time
of construction of the examined examples
the Aegean foot with length of
been employed. Aside from the existence
of a
give information also for a closed weight
and volumetric measure system. The data
is from the analysis of the so-called Great
Treasure or more specifically
and
shaped ingots. The small electron rods are
divided by incisions, practically at regular
partitions. The weight marks are virtually
equal. The lengths between the incisions
are different, but not visible with the naked
eye, the rods are still with even shape and
girth. The fact that on one and the same
electron rod have been marked the lengths
of the segments, as well as their respective
weight, combined with their large number,
is an modest display of established trade
practice. The comparison with the exist¬
ing divisions in the Shumer, Babylonian,
Egyptian and Aegean measure systems,
showed that the closest one to the average
lengths and weight for a single division is
exactly the Aegean measure system. In or¬
der to achieve a particular weight to cor¬
respond to a particular volume of a given
metal, some mathematical knowledge
170
Dafina Vasileva
is needed
measures, surface measures, volume meas¬
ures. One is required the knowledge to
calculate with great precision numerical
quantities and ability to work with preci¬
sion-balance.
The weight and length of the big elec¬
tron rod from the same treasure are within
premeditated ratio, similarly to the small
rods with the incisions. That is a certain
sign it is made after the same Aegean meas¬
ure system.
The
close values of their lengths and weights.
This indicates, that they are not either
common ingots and in the process of their
production the goldsmith has followed cer¬
tain ratios for their length and weight, and
the value rate of silver to gold (electron)
has been taken into consideration. The
discussed ingots of precious metals
electron rods and the silver tongue-shaped
ingots undoubtedly belong to the so-called
preweighted metal. They are simultane¬
ously weights, goods and currency.
The second chapter is dedicated to the
examination of the technical resources,
methods and scientific knowledge put into
practice in the process of designing, meas¬
uring, tracing and constructing the tombs,
which are built with the discovered linear
unit. There is a review of the rectangular
layout tombs with flat roofing, tombs with
roofing made with overhead technique
and tomb with semi cylindrical vault.
The lack of written and archaeological
data for the design pattern and models of
the buildings does not question their exist¬
ence. The architectural design is an inte¬
gral part of the constructive process and
inevitable element in the professional rela¬
tions client-architect-builder. The horizon¬
tal and vertical sections of the tombs are
basis for the analysis of the methods. These
architectural mappings contain the data
according to which the particular tomb
has been erected, namely its architectural
shape, scale and elevation. The technical
knowledge of the Thracian architects has
been put into practice by the construction
of tombs. That is education and common
rules, predominantly theoretic-practical
in their nature, needed by the architect to
compose the plan of the tomb and then to
translate it into life-size structure on the
construction site. The common principles
and technical rules, on their behalf, have
not restricted the creative work of the ar¬
chitects. In that respect they have had
the opportunity to exercise their knowl¬
edge and skills. That is supported by the
fact that each of the examined tombs is an
unique technical solution.
The first and essential moment of the
design is the establishment of the width/re¬
spectively the diameter of the burial cham¬
ber. They are the most precisely carried
out element in the architectural plan. The
length of the burial chamber is in a definite
geometrical proportion with its width. The
dependence is achieved by the right-angles
triangle formula a2+b2=c2
of the individual monuments found differ¬
ent variations of this formula. The accom¬
plishment of right angles and perpendic¬
ular are additional functions. The depth,
respectively the height of the tomb is equal
to cathetus, hypotenuse, diagonal or their
fraction.
The architectural design delivers geo¬
metric shape to the inner space. The thick¬
ness of the walls, depending on the dimen¬
sions of the tomb and the building materi¬
al, has not been determined in the layout.
It is denoted with a single line. In case the
tomb comprises additional chambers, the
latter are added to the burial chamber and
their dimensions are related to those of the
antechamber. In some cases it is possible,
the internal cross-walls to be included in
the preliminary scaling of the initial de¬
sign. The layout is in unspecified scale. Its
dimensions are given through geometri¬
cal lines, but no values are provided. The
actual dimensions are established in the
process of preparation for the construc¬
tion works. Then the width of the burial
chamber is supplied with a linear measure
-
The analyses of the individual tombs
show that the design pattern of the
Thracians is closely connected with the
Thracian linear unit
though the method itself is an universal
one and it does not depend on it. The al¬
most orthodox arrangement of the
The Thracian Tombs
171
bers suggests that the longitudinal size
could have been used as a starting point.
That, however, is not proved by the analy¬
sis of the tombs.
After the plan has been drawn up,
comes the calculation of the materials and
expenses, the preparation of the building
materials and the construction site, tracing
and erecting the tomb. In the reconstruc¬
tion of the geometric model on the basis
of the examination of particular examples,
the analysis follows the sequence of tomb
tracing, which in general is corresponding
to the formulation of the plan.
The sequence of tracing has been
roughly as follows:
1.
wall of the main chamber along one of the
four cardinal points.
2.
is laid the internal width of the chamber,
which is the starting point for the tracing.
The constructions of larger scale are divid¬
ed in zones, each with its staring dimen¬
sion, so to facilitate the tracing.
3.
pendicular to the initial one are traced.
4.
layout right-angles triangle, the architect
makes marks the length of the sidewalls on
the parallel lines and thus he defines the
dimensions of the room. In the process of
tracing the required space for the cross-
walls is left.
The study of the design method and
tracing of the tombs in Thrace provided
a possibility to determine another almost
compulsory rule
shapes like circle and rectangle or square
and joined together with a gap.
Architectural design and tracing
of graves and tombs with rectangular
layout and flat roofing
The subjects of examination are the ma¬
soned grave with flat roofing from the vil¬
lage of Voivodovo
and those from the village of Zlokouchene
(Ivanski, Fig.
ber tomb with flat roofing from the village
of Staroselka(Fig.
the chamber of the grave from the village
of Voivodovo has been used a equilateral
triangle with side equal to the width of
the chamber, and the length is the sum of
the width and height of the triangle (Fig.
14, 15).
from the village of Zlokouchene has been
employed an Egyptian triangle with
proportion of the sides. The width of the
grave is the small cathetus of the triangle,
the large one being
is equal to the height of the chamber, and
the length is equal to
of the hypotenuse (Fig.
a single chamber tomb does not differ from
that of a masoned grave. Thus the tomb
from the village of Staroselka is made also
through a triangle with
of the sides. The width of the chamber is
the large cathetus of the triangle (Fig.
and the length is equal to
The hypotenuse is the internal height.
A more elaborate geometric model and
more complicated example for tracing is
delivered by the tombs comprising several
rooms. In the basis of the geometric mod¬
el of the tomb from the village of
once again a triangle with
of the sides, so the short side is the small
cathetus, and the long one
nuse (Fig.
2/3
been probably planned as a square in lay¬
out (Fig.
ber is equal to the width of the dromos to¬
gether with the size of its diagonal.
Architectural design and tracing
of tombs with rectangular layout and
roofing of fake vault
The examined example is the tomb
from Maglizh (Fig.
arrangement of the rooms is a result of the
premeditated plan in the design, together
with the planned decoration. The analysis
of the layout indicates, that the design of
this
the main chamber once again. The dimen¬
sions of the following chambers derive and
interrelate with the adopted for the initial
one. The basis of the scheme is a vertical
line, which displays the longitudinal axis
of the tomb, along which are placed and
scaled the rest of its chambers. Rectangles
on both sides of the axis are chosen in this
172
Dafina Vasileva
case (Fig.
are derived from the rectangle of the bur¬
ial chamber, as its width is equal to
the diagonal length of the burial chamber.
The length of room I is adopted after the
length of the burial chamber. The width
of room I is determined by the diagonal
of the rectangle of the preceding room II,
which is equal to
lengths of the three rooms are planned
and scaled in a proportion of
(29
length equal to twice the length of room II
or
of the dromos is calculated independently
—
the design of the last room along the axis
is used right-angles triangle with propor¬
tion of the sides
cathetus of the triangle, the length is given
by its hypotenuse. It is of interest the possi¬
bility to establish the probable approach to
the planning of the height and the curve of
the console vault of room II. The width of
the burial chamber is adopted as a height
for room II, and the curve of the vault
which starts from the floor is a part of a
circle. The radius, it is described with, is
equal to
32).
of the Maglizh tomb indicates, that in the
process of its design have been joined two
interrelated but different quantities
internal height of the room (from the floor
to the vertex of the vault) and the width
of the room. In the case with circular bur¬
ial chamber tombs the second quantity is
their diameter
ing unit for the radius, which describes
the curve of the vault is determined by the
width of the room (respectively the diam¬
eter of the burial chamber). Consequently
one of the dimensions (the initial one) of
the burial chamber exists not only within
the layout and the additional rooms, but in
its volume too.
Architectural design and tracing
of dome tombs
In the design of the dome curves should
be taken into consideration several charac¬
teristics. The different spots, where the cen¬
tre of the circle can be fixed, the different
internal dimensions
truncated or not shape of the dome, deter¬
mine the variations, which are detected in
the curves. These variations on their behalf
define the impossibility to reconstruct with
certainty the partially preserved domes of
tombs. In such cases is crucial the existence
of data for the size of the stone cap or the
upper diameter of the dome. With such
data at hand the height and the curve of
the dome are within certain limits.
The dome tomb at Kurt-kale,
(Fig.
by a circle of arbitrary diameter (Fig.
From the same centre is made a smaller cir¬
cle with diameter d=D/4, which is a projec¬
tion of the upper section of the dome. The
width of the antechamber is made equal to
the radius, and its length equal to
its width. The diagonal of the antechamber
is established as its height, and the height
of the walls to the beginning of the vault
is equal to the difference between the to¬
tal height and half of the burial chamber
length. The thickness of the walls of the
burial chamber is determined with the
mathematical expression
R.
ber
of the vertical elevated from the centre of
the circle (from the floor level) with radius
R (a -c), equal to the diameter (D) plus the
thickness of the wall (B). The projection
of the dome is made by the straight line,
on which is elevated the perpendicular for
the internal height of the burial chamber,
the diameter of the chamber and that of
the cap. The segment (e-f), equal to the
internal height of the chamber is elevated
as well. Through the centre of the straight
line (c-e) is drawn a perpendicular line.
The point where it crosses the elongation
of the straight line
the circle, and point (m), from which point
with R is drawn the curve of the dome.
Once again with R , but from point (n) is
achieved the complete burial chamber.
The dome tomb in Mal-tepe,
(Fig.
is drawn again when designing the burial
chamber. In its centre a smaller circle is in¬
scribed d=D/8, which represents the top
section of the dome
The Thracian Tombs
(о1),
circles is drawn a perpendicular. Then
long the straight line (b-b ) is plotted twice
the segment
(b). Thus the segment (b-c)
segment
Segment (c-b ) is equal to R , which de¬
termines the height of the burial chamber
(Fig.
burial chamber is already determined, the
radius (R ) of the dome curve can be deter¬
mined too (Fig.
the straight line
down a perpendicular. The point it crosses
the elongation of the straight line (b-b ) is
point (c). The segment (c-b1) is the radius
R , respectively from point (c ) with radius
R = (c -b)= (c-b ) is described the arch,
which completes the dome. The design of
the geometric model proceeds with defin¬
ing the width of the first room. It is equal
to the radius of the burial chamber (Fig.
37).
walls, and the total height is equal to the
diameter. The length is equal to
the width of the room. The second room
is narrowed down with
proportion width to length. The height of
the walls is equal to the width of the first
room, and its total height is equal to
that for room I. The width of the dromos is
equal to half of the total height of room II,
the height is
of the walls is
room II. The total height of the passage¬
way is planned equal to
right-angles triangle with sides
a small cathetus equal to the width of the
passage-way.
The dome tomb in Zhaba mound, Strel-
cha (Fig.
width of the antechamber immediately
to the burial chamber is integrated in the
dimensions of the latter. In the circular
burial chambers this width is usually the
radius or the side of the inscribed regular
geometric shape. In the case of the tomb
from Strelcha the width of the antecham¬
ber is equal to the side of the inscribed in
the circle regular geometric shape. It is a
pentagon
The thickness of the walls is determined by
the formula
173
tre,
the height of the burial chamber lies on the
internal or external edge of the facade wall
of the burial chamber (Fig.
for the existence of a cap, as well as the co¬
incidence of the preserved remains from
the dome curve and the curved achieved
by a radius marked from the inner side of
the antechamber, indicate which is the ex¬
act pattern here. Consequently, with pre¬
cise data for the diameter of the cap could
be determined the height of the chamber.
In this case by drawing a perpendicular in
the centre of the straight line (b -o ) can be
defined point (r), from which with a radius
R=
chamber (Fig.
The dome tomb in Zolotoi kourgan,
Panticapaeum (Fig.
tect designed and traced the tomb he em¬
ployed a dodecagon inscribed in a circle.
The initial measure is the diameter of the
burial chamber. The length of the dromos
is equal to
internal height of the domed area of the
burial chamber is defined by radius, locat¬
ed along the longitudinal axis of the dro¬
mos. The dome is truncated and that is the
reason for a second radius, which delivers
the actual curve of the dome. In this case
the designer has chosen this radius to be
equal to twice the diameter of the burial
chamber R
The dome tomb
42).
existence of a preliminary geometric mod¬
el which had passed through the following
phases
diameter for the burial chamber, then the
diameter is divided in three even sections,
and in the middle third is drawn a small
circle
jection to the opening in the upper section
of the dome; the thickness of the walls
=
the dome curve is equal to the total of the
diameter and the thickness of the wall (R
=
jection of the dome opening crosses the di¬
ameter, is elevated a perpendicular which
crosses the radius R . Thus the height of
the burial chamber is determined and the
reconstruction of the geometric model is
174
Dafina Vasileva
completed (Fig.
istic relation between the dimensions of the
burial chamber and the dromos in the ar¬
chitectural pattern of the tomb. The width
of the dromos is
the small cathetus of a right-angles triangle
with side
The examples from Strelcha and
Ravnogor
of incompletely preserved domes by the
method of design pattern.
Architectural design and tracing
of semi cylindrical vault tombs
When tracing this type of burial con¬
structions, the architect takes the height of
their vertical walls
latter is a total of the height of the straight
walls to the foot of the vault and half of the
width of the vaulted room, i.e. the radius
of the vault (R). Since the level of the vault
foot is very often practically unmarked,
in order to be more precise in the archi¬
tectural mapping the height is measured
from the floor to the vertex of the dome
and the width of the room, i.e. the diame¬
ter of the vault (D). The height of the walls
is required also for defining the thickness
of the walls, which support the vault and
absorb the lateral tension.
The tomb at the village of Kaloyanovo,
Sliven district (Fig.
model consists of two rectangles with iden¬
tical square surface, within which are pro¬
jected consecutively the burial chamber,
the antechamber and the anteroom (Fig.
48a). For the layout of the two rectangles is
employed Egyptian triangle with propor¬
tions of the walls
sion for the design is set after the width of
the burial chamber at the Northern side,
which is the big cathethus of the triangle,
and length equal to the hypotenuse (Fig.
486).
The tomb in the town of
50).
a right-angles triangle with proportions of
the sides
tus is adopted as width of the tomb, and
the small delivers the cross-wall position.
Then to the size of the small cathetus are
added
length of the tomb, including the thickness
of the dividing wall.
The tomb in the locality of Akchilar,
Varna (Fig.
this tomb is made by a triangle with pro¬
portions of the sides
given by the small cathetus, the length by
the large cathetus, and the height up to the
vertex of the vault is made by
hypotenuse (Fig.
The caryatids tomb from Sveshatry (Fig.
54).
shape of a square (Fig.
wall
a right-angles triangle with sides
which is used to deliver the right angles,
and through a line and a pair of compasses
is achieved the regular geometric shape of
the room. So the sequence of the process
is as follows. The diagonal of the square
is drawn
ferred at the Southern side of the room.
The segment (c-e)
(the Northern side) of the antechamber.
Along the elongation of the Western wall
of the burial chamber is drawn the small
cathetus (a-f) of the initial triangle and
this delivers segment
sents the Western side of the antechamber
(a-g)
(t-d)H(c-e) and
dimensions of the antechamber planned
by the architect. The side chamber is also
square shape. Its dimensions are obtained,
deriving from the dimensions of the ante¬
chamber. In order to achieve it, an equi¬
lateral triangle has been made, its base is
the Eastern side of the antechamber (e-f).
From the top of the triangle (r) is drawn
a line, parallel to the base. The Southern
side of the antechamber is prolongation
to the cross-point (i) with the line, passing
through the top of the equilateral trian¬
gle (r). The segment (f-m) is transferred
over the base of the triangle, to obtain
the length of the Western wall of the side
chamber (d-j), and (j-k) is made parallel to
(d-j). Thus the side chamber is completed.
The width of the dromos (1-m) is equal
to
of the antechamber (t-d), and its length
(l
right-angles triangle
is used to plan the dromos and is arranged
The Thracian Tombs
175
perpendicularly to the facade of the tomb.
That concludes the geometric model of
the tomb. As far as the comprehensive pat¬
tern is concerned, the heights of the walls
and the level of the vault have to be de¬
termined. The wall heights of the burial
chamber are
one of the antechamber
Western and Eastern walls. The heights of
the side chamber are equal to those of the
antechamber, because on the dividing wall
between that lie both domes. Then comes
the calculation of the vertex heights, which
means adding to these walls the radius,
which provides the semi cylindrical shape
of the roofing, equal to
width.
The tomb of Philip at
57).
square shape (Fig. 58a). The Northern
wall
tus of a right-angles triangle, side propor¬
tions
through a line and a pair of compasses is
accomplished the regular geometric shape
of the room. The width of the burial cham¬
ber is also the width of the antechamber.
The small cathetus of the above mentioned
triangle is adopted as length of the ante¬
chamber. Describing with a pair of com¬
passes the small cathetus along the axis
the architect has drawn the antechamber.
The height of the supporting walls is equal
to half of the square s diagonal (a-f) for
the burial chamber. The diagonal (a-f)
(а
it should be added the radius, which de¬
fines the arch of the vault (on Fig.
presented a construction, which presents
the antechamber with different internal
length).
The origination and formation of the
discussed geometric method is a long term
process of gradual mastering and elabora¬
tion of the construction practice, develop¬
ment of the layouts, the constructive and
volumetric technical knowledge, genera¬
tion after generation accumulated archi¬
tectural experience.
In the third chapter has been made com¬
prehensive architectural-metrical analysis
of the Kazanlak tomb, result of the obser¬
vations from
of the monument. The analysis comprises
the shape, dimensions, construction and
the scheme of wall-paintings. It makes pos¬
sible the complete verification and confir¬
mation of the provided in chapter I linear
unit, employed by the builders in Thrace,
as well as the rules of the architectural de¬
sign, tracing and erection of tombs exam¬
ined in chapter II.
The architectural design
and realization of the tomb
The study of the design pattern of the
tomb is based on the precise architectural
mapping of its vertical and horizontal lay¬
out, which provided possibility to discover
the sequence of the process (Fig.
The plan of the tomb consists of three
rooms
chamber. It is designed and realized in the
North-South direction. Along a straight
line in this direction, which is also the
axis of the building, the architect has laid
the planned internal length
Thracian feet
The architect divides its straight line in
equal sections
he defines the lengths of the three rooms
-
(Fig.
in round shape. Along the axis he lays a
square with a side of
has been inscribed a circle with diameter
equal to the side of the square
and thus the internal area surface of the
room is provided. The architect defines
the thickness of the walls of the round and
most significant room by a second circle,
with diameter equal to the diagonal of the
square, described around the first one (Fig.
64b).
Then comes the scaling of the passage¬
way and the anteroom, both planned rec¬
tangular, which should not dominate in
surface and layout over the burial cham¬
ber. The architect decreases the width of
both rooms from
rooms with width of
(Fig. 64c). Within these dimensions of the
dromos has been included the thickness of
its walls too. So its internal dimensions are
in
feet long. The proportion is achieved by a
176
D
rectangular
3:4:5.
cathetus is added the length of the large
cathetus, which is
The anteroom is designed more spa¬
cious than the passage-way. Its length is
defined along the axis like the other two
rooms with
7
not within the rectangle as it is in the case
of the passageway. Three of the anteroom
sides
Northern, are planned to be built up with
other type of masonry
a clay solder, not bricks as for the burial
chamber and the passageway. The same
type of masonry is planned and used for
the external protective walls of the tomb,
which enclose the brick walls of the round
room and the passageway and continue to
the South, so to shape up the walls of the
anteroom (Fig.
architectural mapping is established, that
the diameter of the crumbled external
surface of the curtain at the burial cham¬
ber had approximate total length of
m. The thickness of the curtain can be
acquired after a fairly precise calculation.
Being aware of the architect s method, it
should be expected, that he have defined
that thickness in the same graphical way,
he has used for the thickness of the buri¬
al chamber wall, half the diagonal of the
square described around the outlines of
the chamber. The calculation is as follows:
-
around the domed room is equal to
m;
-
the walls is equal to
Therefore, the thickness of the stone
curtain is equal to (5.23-3.69):2 = 0,77 m.
It is equal to the wall thickness of the an¬
teroom, which is a continuation of the cur¬
tain.
The height of the three rooms is plan¬
ned different. The architect has employed
for the internal height of the burial cham¬
ber the initial measure of
eter of the burial chamber) and has added
up
feet. Practically, he has designed the height
of the tomb by the figure of a right-angles
triangle with sides
the architect has inscribed the cross-section
of the dome with almost a hive-bell shape
(Fig.
and ends at a height of
three feet have the slightest curve. From
the fourth it alters its direction to the sev¬
enth one. This is the point where the di¬
ameter of the dome decreases from
down to
curve alters once more its direction and at
the end of the eleventh foot the diameter
of the vault is just
foot the smooth curve turns into a straight
line. The dome does not end with a ver¬
tex, but with a round opening
(Fig.
The cross-section of the passageway is
inscribed in a rectangle, the base equal to
the internal width of the latter
height of the rectangle is equal to the dou¬
bled width
tangle are inscribed two squares with
sides. The inscribed vertical section of the
vault curve starts from the floor, similarly
to the domed room. Up to the fifth foot
from the floor the line of the fake vault has
slightly inward curve, so at the upper end
of the fifth foot the width of the room is
down to three feet. Up to this section the
profile of the vault is inscribed in a rectan¬
gle with proportion of the sides
ated through an Egyptian triangle
which has a large cathetus for a base and
the hypotenuse for height. From that point
the vault line swerves upwards with a slight
curve. The vertex of the vault is at
from the floor, as
for covering the gap at the joint of its two
surfaces. The covering is made of a single
row of bricks.
The architect has followed one and the
same principle in the design of the cross-
section for the domed room and the pas¬
sageway.
The cross section of the anteroom is a
rectangle
to the length of the anteroom.The unfold¬
ed height of the two rooms is equal to their
full, construction height. The objective of
such dependence is a result of method for
their design, related also with the planning
of the wall painting schemes, which have
The Thracian Tombs
177
been prepared in advance too.
The analysis of the entrance planning
(Fig.
Thracian linear unit and the proportional
dependence of the entrances to the respec¬
tive rooms.
It should be put stress on the fact that
the building has been planned and de¬
signed architecturally as a whole. The
three rooms are related to each other not
only functionally but also as an architectur¬
al composition. They are in close, internal
relation, caused by the design pattern and
their dimensions. The architect has asso¬
ciated the dimensions of each room with
those of the preceding one. This interde¬
pendence of the dimensions is not acciden¬
tal. Creating the design of the building, the
architect-artist has had to do a tricky piece
of work. He chose to built up a small in
size tomb, but truly impressive one
psychologically and aesthetically. The solu¬
tion he provides are the splendid, original
wall-paintings which cover the walls. Still
the wall-paintings are not enough to elimi¬
nate to some extent the difficulties, created
by the constructive arrangement, although
they are designed and carried out in a way
increasing the effect for each room in a
consecutive order. The magnitude of the
burial chamber should be enhanced not
only by the frescoes, but with its size as well.
The effect is achieved through the princi¬
ple of the contrast. Thus the anteroom is
architecturally very simple
and vertical walls, the passageway is twice
narrower than the anteroom, and the im¬
pression for the dimensions is enhanced
by the fake vault. The architect managed
to achieve two goals
the dimensions of the anteroom and simul¬
taneously sets the stage for the size of the
burial chamber. The wall-paintings in the
tomb are based on the same principle.
After tracing the layout over the site of
the tomb, the construction works have been
carried out in certain sequence. The rooms
of the tomb have been built up in the same
sequence they have been designed. The
round burial chamber has been built first,
followed by the passageway, straight on the
levelled terrain, no groundwork. The two
constructive elements are not joined to¬
gether
reasons of the decision of the architect can
be traced to the following two explanations
-
for a regular masonry junction between
the round wall of the dome, sloping in¬
wards and the sloping in the opposite di¬
rection (also inwards) wall of the passage¬
way. Such junction would require a con¬
siderable quantity of custom bricks, made
with a custom mould or regular bricks cut
in the needed shape. The other explana¬
tion could be the prevention of fissure,
which could be caused by different subsid¬
ence due to to the considerable difference
in the weight and the additional load from
the stone curtain and the mound. The ap¬
plied solution meets both requirements
(Fig.
The construction of the external pro¬
tective curtain, started after covering the
rooms, has been done directly on the ter¬
rain, no groundwork. It has been built row
by row, uniformly and completely envelop¬
ing the rooms, so to take some of the load
from the mound and protect the tomb
from the rain-water.
The anteroom is rectangular in layout
and
high on the inside. The inside walls are
plastered in several layers. Over the rough
stone masonry has been laid a levelling
clay plaster, then lime and coarse-grained
quartz sand plaster, followed by a thin layer
of stucco, coloured in ochre. On the stucco
background are visible dark grey strips,
which outline the faces of hewn stones.
This is an imitation of quadrae masonry.
Small portion of this stucco is preserved
high on the Eastern wall of the anteroom.
There is no data for flooring, probably the
floor has been rammed clay with smoothed
surface. The roof has been probably flat,
made of wooden planks and beams.
The passageway of the tomb has been
built up entirely from custom made bricks
with lime-sandy solder. The shape and size
of the bricks are determined partially by the
areas of the external side of the Southern
wall, where the plaster has fallen off. They
are rectangular
0.205
between them are
178
Dafina Vasileva
of the walls the bricks are laid with the
short side, and the long side sets the width
of the wall. The internal height of the pas¬
sageway is
of
The total height of the brickwork in the
passageway is
floor of the passageway is covered with sev¬
eral layers. The total thickness of the floor¬
ing is
the inside with levelling lime-sandy plaster,
which is covered with thin layer of stucco
(over the surfaces with
red field). The figured scenes are painted
on a smooth lime plaster.
The round burial chamber is built of
different in width bricks, but same in thick¬
ness and length. The bricks are manufac¬
tured in view of the shape and size of the
room. In the analysis of the burial cham¬
ber design have been established the di¬
mensions of the bricks employed in the
masonry
same thickness of the walls (Fig.
length of the internal sector arch
m, the external sector arch
well as the number of the bricks used for
the first row of the masonry
are the dimensions of the bricks from the
first row to the eleventh inclusive, where
the deviation of the vault curve is mini¬
mal. The number and dimensions of the
bricks depend on the radius of the brick
rows in which they are laid. Such bricks
are used even in the topmost section of the
masonry at the stone cap, which closes the
opening of the vault. The sector curves are
0.28, 0.285
bricks in the whole brickwork of the tomb
is
The dome does not finish with bricks
but with a monolithic block, hewn to cap
shape with wider upper section. The archi¬
tect has chosen granite to maintain secure¬
ly the top section of the dome, since it is
the most vulnerable one (Fig.
ternal height of the burial chamber is
m
is
the height to the diameter of the tomb is
3.20:2.62 (1,22). .
The burial chamber is bee-hive shaped
in vertical section. The curve of the dome
twice alters its direction. The first time at
the height of
floor the curve becomes more inward. The
second inward redirection is less noticeable
at the height of
say that the curve changes its direction on
the
The realization of the tomb design and
especially the passageway and the burial
chamber, display thorough knowledge in
the fields of mathematics (geometry and
arithmetics) employed in their construc¬
tion. The exquisite and complicated shape
of the dome is a token of construction mas¬
tership. Everything has been calculated
and measured precisely. The primary ma¬
terial
ous sizes for almost each row. The bricks
have been made with a measure, making
possible the precise reproduction of the
double concave-convex curve of the dome.
The dimensions from the blueprint and
those from the actual building have mini¬
mal errors, fact proving the high construc¬
tion standards at that time in Thrace.
Design and execution of the wall-
painting scheme
The existence of developed design for
the complicated wall-painting scheme of
the Kazanlak tomb has been evidenced by
the visible even at present draft, done with
a nib of each orthustatus or figure outline
over the still damp plaster. The detailed
measuring of the wall-painting scheme is
the basis for the geometrical analysis, which
provided series of facts regarding the tech¬
niques employed in the design.
Dromos. The two long walls of the pas¬
sageway has identical schemes, continuing
over the short cross-walls, where are the
entrances to the anteroom and the burial
chamber. There are no figured scenes on
the short cross-walls. It is of interest how
the scheme has been designed and laid on
the wall surfaces, which unfolded presents
the curve of the fake vault.
The artist has divided the unfolded
height of the walls (from the floor to the
vertex of the vault) into three horizontal
fields, which together display the deco¬
rative arrangement over the walls (Fig.
74).
The Thracïan
179
with high plinth split in three rectangles
along its length (they imitate stone fac¬
ing
floor level, over a raised imitation of kerb
stone. In their upper section they once
again end with a raised in relief strip. The
second field above it, is neutral, smoothly
painted in
comes next, with alternating ornamental
and figured wall-painting. In the process
of vertical and horizontal scaling the artist
has considered the
divisions
the scheme figured frieze, displaying battle
scenes is just one foot high
The domed room. In the domed room
the artist has maintained the same scheme
distribution, like in the passageway, but
due to the hight and special function of
the room, the division of the decorative
fields has been increased in size (Fig.
The surface here is similarly divided into
three fields
field and upper field, covered in ornamen¬
tal and figured wall-painting. The three
principal fields are segmented by differ¬
ent details, based on the
its subdivisions. The analysis result for the
three parts of the third field in the burial
chamber indicates that the large figured
frieze covers two Thracian feet, the chari¬
ots scene
the surface is left for the ornamental frag¬
ments.
The wall-painting scheme in the pas¬
sageway and the domed room has been
designed and executed so their primary
details illustrate additionally constructive
elements of the building, and particularly
the profiles of the dromos and that of the
dome in the burial chamber. The redirec¬
tion of the curves coincides exactly with
the field division for the wall-paintings.
In the domed room the curve alters its
direction on the 11th and
The first wall-painting field from the floor
upwards has a slight curve and covers
brick rows
The second field
11
namental and figured wall-paintings on
brick rows. The first inward redirection of
the curve is marked with the raised over
the wall surface black band, and the second
one with a slight concavity inward from the
threefold architrave, which initiates the
entablement (the large figured frieze, the
architectural motifs and the chariot race).
The curve of the fake vault in the dro¬
mos alters twice its direction
from the 9th row up, it suddenly swerves
at the 16th row. These points are marked
as in the case of the domed room with el¬
ements of the wall-painting scheme, and
the three principal fields are highlighted
-
marked with the white raised band above
the orthostrati, and the second one, above
the red field with the cymatium below the
frieze with floral motifs, or practically with
the foot of the ornamental composition. In
both rooms the constructive finish of the
curves (the edge of the last brick row) is
marked with a saturated red line.
The described above division of the wall-
painting scheme in the tomb and the redi¬
rection points in the profile of the curves
highlighted by details of the scheme prove
the synchronous arrangement between the
architectural-constructive and artistic-dec¬
orative design.
The design analysis determined that the
unfolded in height line of the curve of the
passageway and that of the domed room
is equal to the total constructive height of
the building. In the detailed mathemati¬
cal analysis of the wall-painting schemes
this conclusion was confirmed once again.
The individual details of the scheme in the
domed room are designed and executed
over the unfolded vertical surface of its
wall, built up in height of
(from the floor to the stone cap). But, as a
matter of fact, when the curve is unfolded
the total height measures up to
rows, which is the complete height of the
domed room (Fig.
The artist has developed the most im¬
pressive scene in the burial chamber (the
so-called funeral feast) not only in vertical,
but also in horizontal direction (Fig.
Above the red neutral wall the large
figured frieze steps over a threefold archi¬
trave, which is the base of the frieze and the
artist has used as a geometric basis for the
design of the complex scheme. Over the
i8o
Dafina Vasileva
architrave
alternating rosettes and bucrania
The circle of the architrave has the vertex
as a centre
cap. The artist has divided the circumfer¬
ence in
gathered in the upper centre. On each ray
he lays the centre of a rosette. The stretch
between the axes is equal to exactly
(0.4363
and a bucranium at the same centre dis¬
tance is
plane of the circle has been divided toward
the centre in
ing in that centre (the centre of the key¬
stone
has completed the arrangement with an
8
rosette painting has fallen off immediately
after the unearthing of the tomb and it has
not been registered at all. There has been
attempt to restore its outlines:
-
is a centre of the rosette as well, the
ments are divided into
ment is exactly 30s), providing
Every second half corresponds to the
leaves of the
on the stone cap.
-
line circle between the
the Ionian cornice, the artist divides in a
horizontal plane as follows
fourth segment a column is laid
χ
is one of the chariots.
-
ed in
the centres of the rosettes on the threefold
architrave. The human figures and those
of the horses are planned between two ro¬
settes (Fig.
Therefrom, design also in horizontal
plane, unique by its nature and artistic
implementation, the arrangement in the
domed room presents three concentric
circles, which comprise in a consecutive
order the architectural elements of the an¬
cient entablement
cornice. The centre of the circles is the
centre of the
saturated red circle. It is at the same time
the constructive centre of the vertex of the
dome and starting point for the
which determine the centres of the archi¬
tectural motifs and position of the figures.
The radius of each of the three circles in¬
creases gradually from the centre at the
top down toward the floor. That is how the
artist has accomplished an incomparably
perspective effect in spite of the small size
of the room, which brings impressiveness
to the architecture and dimension to the
wall-paintings.
The grid of the horizontal bands and
the intersecting rays has been laid directly
of the newly plastered wall of the domed
room and then have been painted the
decorative and figured details. Or it could
have been done following the thoroughly
developed design and then just has been
transferred to the wall, these are some of
the unclear points of the realization.
The execution of the wall-paintings re¬
quired in great extent a developed scheme,
especially for the domed room, because:
1.
the bucrania from the architrave after he
has measured the length of the wall at this
level and divide it in
The figured composition above the ar¬
chitrave is impossible to be done immedi¬
ately. In order to distribute evenly all fig¬
ure groups over the curved surface of the
wall, the artist should have had full view of
the complex composition. It is impossible
however, since one half would always be
behind his back.
2.
possible to draw all
the centre of the
of the keystone) at uniform distances. The
keystone has been put probably after the
completion of the wall-paintings, since the
opening has been the single source of sun¬
light in the room. It is much more suitable
for the process of plastering and full-col¬
our painting than the artificial illumina¬
tion. Moreover, the rays have been essen¬
tial part of the geometric layout of the wall-
painting scheme. First and foremost they
arrange the whole scheme. Furthermore,
they are an auxiliary construction to the
central perspective
quired position of the figures and direct¬
ing them into the centre of the circle, the
The Thracian Tombs
181
point the rays come from.
The artist-architect could easily pre¬
pare a design for the wall-paintings. The
building design itself, proves he had good
command of the contemporary geometry
and skilfully had put it into practice. So,
the upper section of the domed room,
where the wall-paintings would be laid, is
reduced to a truncated cone
feet) in diameter and height of
feet and
figures already available from the design
of the building itself, and the built up now
domed room.
The unfolded surface of this truncated
cone provides the framework of the plane,
which is to be used for the most complicated
part of the wall-painting scheme. The cir¬
cumference of the cone base is divided by
the artist in
circle a hexagon, dividing its sides in
obtains
transfers these divisions over to the unfold¬
ed surface of the cone and connects them to
the vertex. Thus the
then the horizontal bands are laid. The grid
is used to draw the design of the wall-paint¬
ings, which is to be transferred to the wall of
the domed room (Fig.
The scheme of the wall-paintings in this
section could have been composed also af¬
ter the completion of the domed room. It
is of interest which is the chosen approach
by the architect-artist.
The domed room of the Kazanlak tomb
has a peculiarity of the curve. It is slight¬
ly bell-shaped in cross section, which has
not been found among Thracian domed
tombs. This original shape, on its own, can
be considered as a exceptionally interesting
idea of the architect, but the analyses show
it is in particular correlation with the wall-
paintings and especially the large figured
frieze. There is a remarkable character¬
istic standing out and providing possibil¬
ity to reckon that the architectural layout
and wall-painting scheme of the Kazanlak
tomb have been designed as a whole. The
bell-shaped dome is designed to present a
plane for the paintings directed to the au¬
dience, so the impressions of the most sig¬
nificant part (the funeral feast) of the wall-
paintings is deeply intensified. This section
has been considered by the architect in the
very process of the wall-painting design.
The profile of the curve is slightly convex-
concave, as the convex section starts from
the beginning of the entablement
architrave, serving as a base for the large
figured frieze, and in the beginning of the
Ionian cornice above (Ionian cyma and
cyma with lion head gutters) develops the
concave section. The curve decreases its
inward slant above the cornice, where the
wall-paintings are finished with the racing
chariots. Thus the wall surface has two dif¬
ferent, but smooth planes
is more visibly expressed than the second
one. The artist has achieved optical elon¬
gation of the figures from the large frieze,
contrasting with that of the chariots and
columns between them.
On account of this characteristic of the
convex curve at that point of the dome the
figures appear much taller, that the actual
height of the area -just
3.20
is a supreme perspective effect, deliver¬
ing grandeur to the figured frieze in the
domed room.
The comprehensive architectural-met¬
rical analysis of the Kazanlak tomb displays
not only the stages of design, tracing and
scaling, but also the symbiosis between the
architectural design and the excellent wall
decoration. The symbiosis, making the
tomb a masterpiece of the ancient architec¬
ture.
The tomb architecture in Thrace makes
impression with the variety of layout and
spatial solutions, the materials and tech¬
niques employed, the artistic merits of the
buildings. All of the contemporary roof
constructions are represented, beginning
with the flat covering through the fake
vault and dome and finally the most elab¬
orate building construction
semi cylindrical vault. This impressive di¬
versity is a convincing evidence for the po¬
tential of the Thracian architects and the
high economic and cultural standard of
the Thracian aristocrats.
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СЪДЪРЖАНИЕ
УВОД
ПЪРВА ГЛАВА
Мерна единица за дължина употребена в строителството на траките.
Произход
ВТОРА ГЛАВА
Архитектурно проектиране и трасиране на гробниците
в Тракия през
Общи положения при проектирането
и трасирането на тракийските гробници
Архитектурно проектиране и трасиране на градени гробове
и гробници
Архитектурно проектиране и трасиране на гробници
с
Архитектурно проектиране и трасиране на куполни гробници
Проблеми на мегалитната гробнична архитектура.
Идея за произхода на конструкцията на фалшивия свод и купол
Архитектурно проектиране и трасиране
на гробници
ТРЕТА ГЛАВА
Казанлъшката гробница
Проектиране
Стенописи
ЗАКЛЮЧЕНИЕ
ЛИТЕРАТУРА
ПОКАЗАЛЕЦ
ПОКАЗАЛЕЦ НА ИЛЮСТРАЦИИТЕ В ТЕКСТА
ПОКАЗАЛЕЦ НА ТАБЛИЦИТЕ В ТЕКСТА
ЦВЕТНИ ТАБЛА
SUMMARY
INDEX OF ILLUSTRATIONS IN THE TEXT
INDEX OF TABLES IN THE TEXT
COLOUR PLATES
ПРИЛОЖЕНИЕ
The Thracian Tombs
Architectural-metrical study
(summary)
The problems of the tomb architecture
in Thrace are quite often in the scope of
interest of different specialists from vari¬
ous science fields
ans, architects, conservation specialists, art
critics. It is absolutely explicable consider¬
ing the variety of tombs, their number, the
continuous new shapes, which they pro¬
vide. Rare are the studies, which offer a
comprehensive study of a particular monu¬
ment, with the numerous problems, which
it poses or the studies tracing a problem
thoroughly.
In the presented study has been made
an attempt to trace thoroughly the proc¬
ess of the architectural-artistic realisation
of the Thracian tombs. Probably one of the
main reasons for the fact, that up to date
such study on the Thracian tombs has not
been made is due to the fact, that we do
not have any other data, besides the monu¬
ments themselves, which lay in the basis of
the reconstruction of the whole process
knowledge for the design, tracing, decora¬
tion and painting. Additional support for
the presented study is the data from other
divisions of the architectural history.
Based on the architectural-metrical in¬
vestigation of the layout schemes and the
construction of the known tombs with dif¬
ferent architectural shapes and covering
from Thrace are established many un¬
known features of their formation history:
1.
linear measurement (foot) employed in
the construction building of the Thracians.
The unknown so far problem of the de¬
gree of technical knowledge employed in
the Thracian tomb architecture has been
clarified.
2.
time necessity of architectural blueprints
and the means of their creation and reali¬
zation. It has been found the method of
projecting for the Thracian tombs.
The architectural-metrical study of the
Thracian tombs consists of three chapters.
In the first chapter has been discussed the
matter of the dimensions, territorial distri¬
bution and origin of the linear unit, which
the ancient Thracian tribes on the Balkans
have employed in their constructions. It is
usually accepted, that initially the Greek
(Attic) foot has been employed
the Roman and Byzantine ones. In series
of cases it was probably true, but is known,
that in Ancient Greece, as well as in Ancient
Rome have been used different feet for
length, which poses even more dramati¬
cally the question for the foot employed by
the Thracians. For the size and type of the
linear unit, which is used by the Thracians,
there are no written sources. Indirect data
could be yielded by the technical analysis
іб8
Dafina Vasileva
of the very monuments. Primary problem
in that case are the faults and deformations
in the monuments, which are result of var¬
ious reasons. And the employment of the
geometrical method in the erection of the
right angle and parallel lines leads to the
fact, that always one of the dimensions is a
starting point, and all the rest derive from
it, i.e. the search for the foot in this case
depends on the initial size.
In the ancient linear units, the span,
respectively the hand, is a subdivision of
the foot, and the elbow consists of a whole
number of feet. Observing this principle
the study is directed at the establishment
of the Thracian foot. The foot in question
is the number, which can divide the initial
dimensions of series of Thracian monu¬
ments without remainder for this common
measure
measure have been investigated
ments, tombs with vaulted and domed cov¬
ering from the territory of Bulgaria and
13
from Eastern Thrace,
Phrygia and
Apart from tombs with arched or dome-
shaped covering, as a significant compara¬
tive material have been examined also
masoned tombs with flat covering, with
semi-cylindrical vault
dolmens
of all
located in modern Bulgarian territory, and
69
After the selection of the monuments
and the establishment of the initial meas¬
ure, it is analysed by means of
in the literature feet, among which is the
one found in a Late Antiquity monument
-
several Roman and three Thracian monu¬
ments foot of
study were given the numerical analyses of
the following tombs
(Table I), the tomb of Hisopathe (Table
III) and the Kazanlak tomb (Table IV, IV
a and b). Thus, the number of the inves¬
tigated tombs is
dolmens and rock-cut tombs, this method
of approach was not necessary. The high
percentage of monuments giving a whole
number of
and employment by the ancient Thracians.
An examination with a
carried out (Table V and VI).
Evidence for the employment of the
cm foot is sought also in data, provided
by the numismatics. The relation between
the currency unit and the respective lin¬
ear measure, considering the fact that the
weight measure is identical with the cur¬
rency one and the so-called "closed sys¬
tem". On the basis of the knowledge for
the existence of a closed system in Ancient
Babylon and Greece and taking advantage
of the fact, that the Hellenes divided the
talent in
drachmas is assumed, that the Thracians
did the same. The same names are used
provisionally. Accordingly the weight meas¬
ure can be calculated and consequently the
weight of the coin, proceeding from the
foot. So the weight of a talent will be equal
to
24389/6000 = 4.0648
4.065
is completely independent currency unit.
It distinguishes itself from the Eastern,
Attic and other drachmas and
its weight as well as by its origin and what
is most important
ent based on a
Thracian coin, respectively weight meas¬
ure is not just fictional, hypothetically es¬
tablished and supposed quantity, but actual
fact. Its weight is equal to
in our lands so-called decadrachmas of the
Thraco-Macedonian tribe Deroni.
Comparative calculations have been
made, which revealed that the drachma of
the Deroni
lation with the coins of the Bisaltae,
and the coins of the subsequent Thracian
rulers. The weight of the drachma, which
is minted by Bisaltae and
known
based on a
of
While the Deroni coin
a talent
tribes coin
In this situation, the coins with face value
(average)
those of (average)
Although there is devaluation, the initial
The Thracian Tombs
169
quantity of metal always remains the same,
since it is relative to a linear measure, and
therefore with the whole system which
does not change either. The devaluation of
the coins in my opinion is the main reason
for the lack of direct relation between the
Deroni drachma and those of the subse¬
quent Thracian rulers.
The study of the foot subdivisions is de¬
cisive. The divisions of the
established by analogy with the old Roman
foot, which were
The Thracian craftsman could have used
in his work a wooden or metal measure,
which had been marked with several feet
-
(1.74
amount of the studied artefacts however
does not provide the opportunity to draw
a conclusion for the time, when this foot is
set and what is its territorial distribution.
In order to answer this question, addition¬
al information has been gathered, which
makes it possible to prove, that the linear
measure system employed by the ancient
Thracians is included in the
systems of the Aegean world. The research
on this problem is based on the analysis of
architectural monuments and archaeologi¬
cal finds, belonging to the Aegean civiliza¬
tion, familiar to the scholars, but unused in
that respect.
Attention has been paid to the megara
from Troy II and IV, although the data
from their examination has been used at
the time of their publishing, when search¬
ing for the measure. The observations
made here point that the approach should
be altered. Since, defining the employed
measure the research-worker proceeds
from assumptions for the adobe dimen¬
sions, which is doomed to failure. The
analysis of the data allows the following
conclusions. The adobes have not been
manufactured as a commodity, but tai¬
lored for a particular building. That is the
practice till the end of Antiquity for the
construction of large buildings. The shape
and dimensions of the adobes conform the
width of the stonework, not vice versa. The
thickness of the groundwork depends on
two factors
building. Therefore, the shape and size of
the adobes have been established after the
width of the basis has been determined,
and the adobes have been made before the
commencement of the construction works.
Such practice suggests, that the layout has
been prepared in advance with definite di¬
mensions and material calculation. When
the adobes are manufactured by hand in
large quantities, this is the advisable and
economical practice, and the quantity on
its turn justifies the preparation of a cus¬
tom mould. Since the shape and size of the
adobes are determined by variables, which
in this case are the width and height of the
stone groundwork, they can not provide
us with the particular linear unit. Such
data could be yielded by the buildings, in
particular their width and the one of the
main chambers, assuming they have been
designed in whole number of feet. Nine
buildings from Troy have been analysed on
the basis of
II A, II B, II H, II K, VI C, VI
M. The results reveal, that within the time
of construction of the examined examples
the Aegean foot with length of
been employed. Aside from the existence
of a
give information also for a closed weight
and volumetric measure system. The data
is from the analysis of the so-called Great
Treasure or more specifically
and
shaped ingots. The small electron rods are
divided by incisions, practically at regular
partitions. The weight marks are virtually
equal. The lengths between the incisions
are different, but not visible with the naked
eye, the rods are still with even shape and
girth. The fact that on one and the same
electron rod have been marked the lengths
of the segments, as well as their respective
weight, combined with their large number,
is an modest display of established trade
practice. The comparison with the exist¬
ing divisions in the Shumer, Babylonian,
Egyptian and Aegean measure systems,
showed that the closest one to the average
lengths and weight for a single division is
exactly the Aegean measure system. In or¬
der to achieve a particular weight to cor¬
respond to a particular volume of a given
metal, some mathematical knowledge
170
Dafina Vasileva
is needed
measures, surface measures, volume meas¬
ures. One is required the knowledge to
calculate with great precision numerical
quantities and ability to work with preci¬
sion-balance.
The weight and length of the big elec¬
tron rod from the same treasure are within
premeditated ratio, similarly to the small
rods with the incisions. That is a certain
sign it is made after the same Aegean meas¬
ure system.
The
close values of their lengths and weights.
This indicates, that they are not either
common ingots and in the process of their
production the goldsmith has followed cer¬
tain ratios for their length and weight, and
the value rate of silver to gold (electron)
has been taken into consideration. The
discussed ingots of precious metals
electron rods and the silver tongue-shaped
ingots undoubtedly belong to the so-called
preweighted metal. They are simultane¬
ously weights, goods and currency.
The second chapter is dedicated to the
examination of the technical resources,
methods and scientific knowledge put into
practice in the process of designing, meas¬
uring, tracing and constructing the tombs,
which are built with the discovered linear
unit. There is a review of the rectangular
layout tombs with flat roofing, tombs with
roofing made with overhead technique
and tomb with semi cylindrical vault.
The lack of written and archaeological
data for the design pattern and models of
the buildings does not question their exist¬
ence. The architectural design is an inte¬
gral part of the constructive process and
inevitable element in the professional rela¬
tions client-architect-builder. The horizon¬
tal and vertical sections of the tombs are
basis for the analysis of the methods. These
architectural mappings contain the data
according to which the particular tomb
has been erected, namely its architectural
shape, scale and elevation. The technical
knowledge of the Thracian architects has
been put into practice by the construction
of tombs. That is education and common
rules, predominantly theoretic-practical
in their nature, needed by the architect to
compose the plan of the tomb and then to
translate it into life-size structure on the
construction site. The common principles
and technical rules, on their behalf, have
not restricted the creative work of the ar¬
chitects. In that respect they have had
the opportunity to exercise their knowl¬
edge and skills. That is supported by the
fact that each of the examined tombs is an
unique technical solution.
The first and essential moment of the
design is the establishment of the width/re¬
spectively the diameter of the burial cham¬
ber. They are the most precisely carried
out element in the architectural plan. The
length of the burial chamber is in a definite
geometrical proportion with its width. The
dependence is achieved by the right-angles
triangle formula a2+b2=c2
of the individual monuments found differ¬
ent variations of this formula. The accom¬
plishment of right angles and perpendic¬
ular are additional functions. The depth,
respectively the height of the tomb is equal
to cathetus, hypotenuse, diagonal or their
fraction.
The architectural design delivers geo¬
metric shape to the inner space. The thick¬
ness of the walls, depending on the dimen¬
sions of the tomb and the building materi¬
al, has not been determined in the layout.
It is denoted with a single line. In case the
tomb comprises additional chambers, the
latter are added to the burial chamber and
their dimensions are related to those of the
antechamber. In some cases it is possible,
the internal cross-walls to be included in
the preliminary scaling of the initial de¬
sign. The layout is in unspecified scale. Its
dimensions are given through geometri¬
cal lines, but no values are provided. The
actual dimensions are established in the
process of preparation for the construc¬
tion works. Then the width of the burial
chamber is supplied with a linear measure
-
The analyses of the individual tombs
show that the design pattern of the
Thracians is closely connected with the
Thracian linear unit
though the method itself is an universal
one and it does not depend on it. The al¬
most orthodox arrangement of the
The Thracian Tombs
171
bers suggests that the longitudinal size
could have been used as a starting point.
That, however, is not proved by the analy¬
sis of the tombs.
After the plan has been drawn up,
comes the calculation of the materials and
expenses, the preparation of the building
materials and the construction site, tracing
and erecting the tomb. In the reconstruc¬
tion of the geometric model on the basis
of the examination of particular examples,
the analysis follows the sequence of tomb
tracing, which in general is corresponding
to the formulation of the plan.
The sequence of tracing has been
roughly as follows:
1.
wall of the main chamber along one of the
four cardinal points.
2.
is laid the internal width of the chamber,
which is the starting point for the tracing.
The constructions of larger scale are divid¬
ed in zones, each with its staring dimen¬
sion, so to facilitate the tracing.
3.
pendicular to the initial one are traced.
4.
layout right-angles triangle, the architect
makes marks the length of the sidewalls on
the parallel lines and thus he defines the
dimensions of the room. In the process of
tracing the required space for the cross-
walls is left.
The study of the design method and
tracing of the tombs in Thrace provided
a possibility to determine another almost
compulsory rule
shapes like circle and rectangle or square
and joined together with a gap.
Architectural design and tracing
of graves and tombs with rectangular
layout and flat roofing
The subjects of examination are the ma¬
soned grave with flat roofing from the vil¬
lage of Voivodovo
and those from the village of Zlokouchene
(Ivanski, Fig.
ber tomb with flat roofing from the village
of Staroselka(Fig.
the chamber of the grave from the village
of Voivodovo has been used a equilateral
triangle with side equal to the width of
the chamber, and the length is the sum of
the width and height of the triangle (Fig.
14, 15).
from the village of Zlokouchene has been
employed an Egyptian triangle with
proportion of the sides. The width of the
grave is the small cathetus of the triangle,
the large one being
is equal to the height of the chamber, and
the length is equal to
of the hypotenuse (Fig.
a single chamber tomb does not differ from
that of a masoned grave. Thus the tomb
from the village of Staroselka is made also
through a triangle with
of the sides. The width of the chamber is
the large cathetus of the triangle (Fig.
and the length is equal to
The hypotenuse is the internal height.
A more elaborate geometric model and
more complicated example for tracing is
delivered by the tombs comprising several
rooms. In the basis of the geometric mod¬
el of the tomb from the village of
once again a triangle with
of the sides, so the short side is the small
cathetus, and the long one
nuse (Fig.
2/3
been probably planned as a square in lay¬
out (Fig.
ber is equal to the width of the dromos to¬
gether with the size of its diagonal.
Architectural design and tracing
of tombs with rectangular layout and
roofing of fake vault
The examined example is the tomb
from Maglizh (Fig.
arrangement of the rooms is a result of the
premeditated plan in the design, together
with the planned decoration. The analysis
of the layout indicates, that the design of
this
the main chamber once again. The dimen¬
sions of the following chambers derive and
interrelate with the adopted for the initial
one. The basis of the scheme is a vertical
line, which displays the longitudinal axis
of the tomb, along which are placed and
scaled the rest of its chambers. Rectangles
on both sides of the axis are chosen in this
172
Dafina Vasileva
case (Fig.
are derived from the rectangle of the bur¬
ial chamber, as its width is equal to
the diagonal length of the burial chamber.
The length of room I is adopted after the
length of the burial chamber. The width
of room I is determined by the diagonal
of the rectangle of the preceding room II,
which is equal to
lengths of the three rooms are planned
and scaled in a proportion of
(29
length equal to twice the length of room II
or
of the dromos is calculated independently
—
the design of the last room along the axis
is used right-angles triangle with propor¬
tion of the sides
cathetus of the triangle, the length is given
by its hypotenuse. It is of interest the possi¬
bility to establish the probable approach to
the planning of the height and the curve of
the console vault of room II. The width of
the burial chamber is adopted as a height
for room II, and the curve of the vault
which starts from the floor is a part of a
circle. The radius, it is described with, is
equal to
32).
of the Maglizh tomb indicates, that in the
process of its design have been joined two
interrelated but different quantities
internal height of the room (from the floor
to the vertex of the vault) and the width
of the room. In the case with circular bur¬
ial chamber tombs the second quantity is
their diameter
ing unit for the radius, which describes
the curve of the vault is determined by the
width of the room (respectively the diam¬
eter of the burial chamber). Consequently
one of the dimensions (the initial one) of
the burial chamber exists not only within
the layout and the additional rooms, but in
its volume too.
Architectural design and tracing
of dome tombs
In the design of the dome curves should
be taken into consideration several charac¬
teristics. The different spots, where the cen¬
tre of the circle can be fixed, the different
internal dimensions
truncated or not shape of the dome, deter¬
mine the variations, which are detected in
the curves. These variations on their behalf
define the impossibility to reconstruct with
certainty the partially preserved domes of
tombs. In such cases is crucial the existence
of data for the size of the stone cap or the
upper diameter of the dome. With such
data at hand the height and the curve of
the dome are within certain limits.
The dome tomb at Kurt-kale,
(Fig.
by a circle of arbitrary diameter (Fig.
From the same centre is made a smaller cir¬
cle with diameter d=D/4, which is a projec¬
tion of the upper section of the dome. The
width of the antechamber is made equal to
the radius, and its length equal to
its width. The diagonal of the antechamber
is established as its height, and the height
of the walls to the beginning of the vault
is equal to the difference between the to¬
tal height and half of the burial chamber
length. The thickness of the walls of the
burial chamber is determined with the
mathematical expression
R.
ber
of the vertical elevated from the centre of
the circle (from the floor level) with radius
R' (a'-c), equal to the diameter (D) plus the
thickness of the wall (B). The projection
of the dome is made by the straight line,
on which is elevated the perpendicular for
the internal height of the burial chamber,
the diameter of the chamber and that of
the cap. The segment (e-f), equal to the
internal height of the chamber is elevated
as well. Through the centre of the straight
line (c-e) is drawn a perpendicular line.
The point where it crosses the elongation
of the straight line
the circle, and point (m), from which point
with R" is drawn the curve of the dome.
Once again with R", but from point (n) is
achieved the complete burial chamber.
The dome tomb in Mal-tepe,
(Fig.
is drawn again when designing the burial
chamber. In its centre a smaller circle is in¬
scribed d=D/8, which represents the top
section of the dome
The Thracian Tombs
(о1),
circles is drawn a perpendicular. Then
long the straight line (b-b') is plotted twice
the segment
(b). Thus the segment (b-c)
segment
Segment (c-b') is equal to R', which de¬
termines the height of the burial chamber
(Fig.
burial chamber is already determined, the
radius (R") of the dome curve can be deter¬
mined too (Fig.
the straight line
down a perpendicular. The point it crosses
the elongation of the straight line (b-b') is
point (c). The segment (c-b1) is the radius
R", respectively from point (c') with radius
R"= (c'-b)= (c-b') is described the arch,
which completes the dome. The design of
the geometric model proceeds with defin¬
ing the width of the first room. It is equal
to the radius of the burial chamber (Fig.
37).
walls, and the total height is equal to the
diameter. The length is equal to
the width of the room. The second room
is narrowed down with
proportion width to length. The height of
the walls is equal to the width of the first
room, and its total height is equal to
that for room I. The width of the dromos is
equal to half of the total height of room II,
the height is
of the walls is
room II. The total height of the passage¬
way is planned equal to
right-angles triangle with sides
a small cathetus equal to the width of the
passage-way.
The dome tomb in Zhaba mound, Strel-
cha (Fig.
width of the antechamber immediately
to the burial chamber is integrated in the
dimensions of the latter. In the circular
burial chambers this width is usually the
radius or the side of the inscribed regular
geometric shape. In the case of the tomb
from Strelcha the width of the antecham¬
ber is equal to the side of the inscribed in
the circle regular geometric shape. It is a
pentagon
The thickness of the walls is determined by
the formula
173
tre,
the height of the burial chamber lies on the
internal or external edge of the facade wall
of the burial chamber (Fig.
for the existence of a cap, as well as the co¬
incidence of the preserved remains from
the dome curve and the curved achieved
by a radius marked from the inner side of
the antechamber, indicate which is the ex¬
act pattern here. Consequently, with pre¬
cise data for the diameter of the cap could
be determined the height of the chamber.
In this case by drawing a perpendicular in
the centre of the straight line (b'-o') can be
defined point (r), from which with a radius
R=
chamber (Fig.
The dome tomb in Zolotoi kourgan,
Panticapaeum (Fig.
tect designed and traced the tomb he em¬
ployed a dodecagon inscribed in a circle.
The initial measure is the diameter of the
burial chamber. The length of the dromos
is equal to
internal height of the domed area of the
burial chamber is defined by radius, locat¬
ed along the longitudinal axis of the dro¬
mos. The dome is truncated and that is the
reason for a second radius, which delivers
the actual curve of the dome. In this case
the designer has chosen this radius to be
equal to twice the diameter of the burial
chamber R"
The dome tomb
42).
existence of a preliminary geometric mod¬
el which had passed through the following
phases
diameter for the burial chamber, then the
diameter is divided in three even sections,
and in the middle third is drawn a small
circle
jection to the opening in the upper section
of the dome; the thickness of the walls
=
the dome curve is equal to the total of the
diameter and the thickness of the wall (R"
=
jection of the dome opening crosses the di¬
ameter, is elevated a perpendicular which
crosses the radius R". Thus the height of
the burial chamber is determined and the
reconstruction of the geometric model is
174
Dafina Vasileva
completed (Fig.
istic relation between the dimensions of the
burial chamber and the dromos in the ar¬
chitectural pattern of the tomb. The width
of the dromos is
the small cathetus of a right-angles triangle
with side
The examples from Strelcha and
Ravnogor
of incompletely preserved domes by the
method of design pattern.
Architectural design and tracing
of semi cylindrical vault tombs
When tracing this type of burial con¬
structions, the architect takes the height of
their vertical walls
latter is a total of the height of the straight
walls to the foot of the vault and half of the
width of the vaulted room, i.e. the radius
of the vault (R). Since the level of the vault
foot is very often practically unmarked,
in order to be more precise in the archi¬
tectural mapping the height is measured
from the floor to the vertex of the dome
and the width of the room, i.e. the diame¬
ter of the vault (D). The height of the walls
is required also for defining the thickness
of the walls, which support the vault and
absorb the lateral tension.
The tomb at the village of Kaloyanovo,
Sliven district (Fig.
model consists of two rectangles with iden¬
tical square surface, within which are pro¬
jected consecutively the burial chamber,
the antechamber and the anteroom (Fig.
48a). For the layout of the two rectangles is
employed Egyptian triangle with propor¬
tions of the walls
sion for the design is set after the width of
the burial chamber at the Northern side,
which is the big cathethus of the triangle,
and length equal to the hypotenuse (Fig.
486).
The tomb in the town of
50).
a right-angles triangle with proportions of
the sides
tus is adopted as width of the tomb, and
the small delivers the cross-wall position.
Then to the size of the small cathetus are
added
length of the tomb, including the thickness
of the dividing wall.
The tomb in the locality of Akchilar,
Varna (Fig.
this tomb is made by a triangle with pro¬
portions of the sides
given by the small cathetus, the length by
the large cathetus, and the height up to the
vertex of the vault is made by
hypotenuse (Fig.
The caryatids tomb from Sveshatry (Fig.
54).
shape of a square (Fig.
wall
a right-angles triangle with sides
which is used to deliver the right angles,
and through a line and a pair of compasses
is achieved the regular geometric shape of
the room. So the sequence of the process
is as follows. The diagonal of the square
is drawn
ferred at the Southern side of the room.
The segment (c-e)
(the Northern side) of the antechamber.
Along the elongation of the Western wall
of the burial chamber is drawn the small
cathetus (a-f) of the initial triangle and
this delivers segment
sents the Western side of the antechamber
(a-g)
(t-d)H(c-e) and
dimensions of the antechamber planned
by the architect. The side chamber is also
square shape. Its dimensions are obtained,
deriving from the dimensions of the ante¬
chamber. In order to achieve it, an equi¬
lateral triangle has been made, its base is
the Eastern side of the antechamber (e-f).
From the top of the triangle (r) is drawn
a line, parallel to the base. The Southern
side of the antechamber is prolongation
to the cross-point (i) with the line, passing
through the top of the equilateral trian¬
gle (r). The segment (f-m) is transferred
over the base of the triangle, to obtain
the length of the Western wall of the side
chamber (d-j), and (j-k) is made parallel to
(d-j). Thus the side chamber is completed.
The width of the dromos (1-m) is equal
to
of the antechamber (t-d), and its length
(l
right-angles triangle
is used to plan the dromos and is arranged
The Thracian Tombs
175
perpendicularly to the facade of the tomb.
That concludes the geometric model of
the tomb. As far as the comprehensive pat¬
tern is concerned, the heights of the walls
and the level of the vault have to be de¬
termined. The wall heights of the burial
chamber are
one of the antechamber
Western and Eastern walls. The heights of
the side chamber are equal to those of the
antechamber, because on the dividing wall
between that lie both domes. Then comes
the calculation of the vertex heights, which
means adding to these walls the radius,
which provides the semi cylindrical shape
of the roofing, equal to
width.
The tomb of Philip at
57).
square shape (Fig. 58a). The Northern
wall
tus of a right-angles triangle, side propor¬
tions
through a line and a pair of compasses is
accomplished the regular geometric shape
of the room. The width of the burial cham¬
ber is also the width of the antechamber.
The small cathetus of the above mentioned
triangle is adopted as length of the ante¬
chamber. Describing with a pair of com¬
passes the small cathetus along the axis
the architect has drawn the antechamber.
The height of the supporting walls is equal
to half of the square's diagonal (a-f) for
the burial chamber. The diagonal (a-f)
(а
it should be added the radius, which de¬
fines the arch of the vault (on Fig.
presented a construction, which presents
the antechamber with different internal
length).
The origination and formation of the
discussed geometric method is a long term
process of gradual mastering and elabora¬
tion of the construction practice, develop¬
ment of the layouts, the constructive and
volumetric technical knowledge, genera¬
tion after generation accumulated archi¬
tectural experience.
In the third chapter has been made com¬
prehensive architectural-metrical analysis
of the Kazanlak tomb, result of the obser¬
vations from
of the monument. The analysis comprises
the shape, dimensions, construction and
the scheme of wall-paintings. It makes pos¬
sible the complete verification and confir¬
mation of the provided in chapter I linear
unit, employed by the builders in Thrace,
as well as the rules of the architectural de¬
sign, tracing and erection of tombs exam¬
ined in chapter II.
The architectural design
and realization of the tomb
The study of the design pattern of the
tomb is based on the precise architectural
mapping of its vertical and horizontal lay¬
out, which provided possibility to discover
the sequence of the process (Fig.
The plan of the tomb consists of three
rooms
chamber. It is designed and realized in the
North-South direction. Along a straight
line in this direction, which is also the
axis of the building, the architect has laid
the planned internal length
Thracian feet
The architect divides its straight line in
equal sections
he defines the lengths of the three rooms
-
(Fig.
in round shape. Along the axis he lays a
square with a side of
has been inscribed a circle with diameter
equal to the side of the square
and thus the internal area surface of the
room is provided. The architect defines
the thickness of the walls of the round and
most significant room by a second circle,
with diameter equal to the diagonal of the
square, described around the first one (Fig.
64b).
Then comes the scaling of the passage¬
way and the anteroom, both planned rec¬
tangular, which should not dominate in
surface and layout over the burial cham¬
ber. The architect decreases the width of
both rooms from
rooms with width of
(Fig. 64c). Within these dimensions of the
dromos has been included the thickness of
its walls too. So its internal dimensions are
in
feet long. The proportion is achieved by a
176
D
rectangular
3:4:5.
cathetus is added the length of the large
cathetus, which is
The anteroom is designed more spa¬
cious than the passage-way. Its length is
defined along the axis like the other two
rooms with
7
not within the rectangle as it is in the case
of the passageway. Three of the anteroom
sides
Northern, are planned to be built up with
other type of masonry
a clay solder, not bricks as for the burial
chamber and the passageway. The same
type of masonry is planned and used for
the external protective walls of the tomb,
which enclose the brick walls of the round
room and the passageway and continue to
the South, so to shape up the walls of the
anteroom (Fig.
architectural mapping is established, that
the diameter of the crumbled external
surface of the curtain at the burial cham¬
ber had approximate total length of
m. The thickness of the curtain can be
acquired after a fairly precise calculation.
Being aware of the architect's method, it
should be expected, that he have defined
that thickness in the same graphical way,
he has used for the thickness of the buri¬
al chamber wall, half the diagonal of the
square described around the outlines of
the chamber. The calculation is as follows:
-
around the domed room is equal to
m;
-
the walls is equal to
Therefore, the thickness of the stone
curtain is equal to (5.23-3.69):2 = 0,77 m.
It is equal to the wall thickness of the an¬
teroom, which is a continuation of the cur¬
tain.
The height of the three rooms is plan¬
ned different. The architect has employed
for the internal height of the burial cham¬
ber the initial measure of
eter of the burial chamber) and has added
up
feet. Practically, he has designed the height
of the tomb by the figure of a right-angles
triangle with sides
the architect has inscribed the cross-section
of the dome with almost a hive-bell shape
(Fig.
and ends at a height of
three feet have the slightest curve. From
the fourth it alters its direction to the sev¬
enth one. This is the point where the di¬
ameter of the dome decreases from
down to
curve alters once more its direction and at
the end of the eleventh foot the diameter
of the vault is just
foot the smooth curve turns into a straight
line. The dome does not end with a ver¬
tex, but with a round opening
(Fig.
The cross-section of the passageway is
inscribed in a rectangle, the base equal to
the internal width of the latter
height of the rectangle is equal to the dou¬
bled width
tangle are inscribed two squares with
sides. The inscribed vertical section of the
vault curve starts from the floor, similarly
to the domed room. Up to the fifth foot
from the floor the line of the fake vault has
slightly inward curve, so at the upper end
of the fifth foot the width of the room is
down to three feet. Up to this section the
profile of the vault is inscribed in a rectan¬
gle with proportion of the sides
ated through an Egyptian triangle
which has a large cathetus for a base and
the hypotenuse for height. From that point
the vault line swerves upwards with a slight
curve. The vertex of the vault is at
from the floor, as
for covering the gap at the joint of its two
surfaces. The covering is made of a single
row of bricks.
The architect has followed one and the
same principle in the design of the cross-
section for the domed room and the pas¬
sageway.
The cross section of the anteroom is a
rectangle
to the length of the anteroom.The unfold¬
ed height of the two rooms is equal to their
full, construction height. The objective of
such dependence is a result of method for
their design, related also with the planning
of the wall painting schemes, which have
The Thracian Tombs
177
been prepared in advance too.
The analysis of the entrance planning
(Fig.
Thracian linear unit and the proportional
dependence of the entrances to the respec¬
tive rooms.
It should be put stress on the fact that
the building has been planned and de¬
signed architecturally as a whole. The
three rooms are related to each other not
only functionally but also as an architectur¬
al composition. They are in close, internal
relation, caused by the design pattern and
their dimensions. The architect has asso¬
ciated the dimensions of each room with
those of the preceding one. This interde¬
pendence of the dimensions is not acciden¬
tal. Creating the design of the building, the
architect-artist has had to do a tricky piece
of work. He chose to built up a small in
size tomb, but truly impressive one
psychologically and aesthetically. The solu¬
tion he provides are the splendid, original
wall-paintings which cover the walls. Still
the wall-paintings are not enough to elimi¬
nate to some extent the difficulties, created
by the constructive arrangement, although
they are designed and carried out in a way
increasing the effect for each room in a
consecutive order. The magnitude of the
burial chamber should be enhanced not
only by the frescoes, but with its size as well.
The effect is achieved through the princi¬
ple of the contrast. Thus the anteroom is
architecturally very simple
and vertical walls, the passageway is twice
narrower than the anteroom, and the im¬
pression for the dimensions is enhanced
by the fake vault. The architect managed
to achieve two goals
the dimensions of the anteroom and simul¬
taneously sets the stage for the size of the
burial chamber. The wall-paintings in the
tomb are based on the same principle.
After tracing the layout over the site of
the tomb, the construction works have been
carried out in certain sequence. The rooms
of the tomb have been built up in the same
sequence they have been designed. The
round burial chamber has been built first,
followed by the passageway, straight on the
levelled terrain, no groundwork. The two
constructive elements are not joined to¬
gether
reasons of the decision of the architect can
be traced to the following two explanations
-
for a regular masonry junction between
the round wall of the dome, sloping in¬
wards and the sloping in the opposite di¬
rection (also inwards) wall of the passage¬
way. Such junction would require a con¬
siderable quantity of custom bricks, made
with a custom mould or regular bricks cut
in the needed shape. The other explana¬
tion could be the prevention of fissure,
which could be caused by different subsid¬
ence due to to the considerable difference
in the weight and the additional load from
the stone curtain and the mound. The ap¬
plied solution meets both requirements
(Fig.
The construction of the external pro¬
tective curtain, started after covering the
rooms, has been done directly on the ter¬
rain, no groundwork. It has been built row
by row, uniformly and completely envelop¬
ing the rooms, so to take some of the load
from the mound and protect the tomb
from the rain-water.
The anteroom is rectangular in layout
and
high on the inside. The inside walls are
plastered in several layers. Over the rough
stone masonry has been laid a levelling
clay plaster, then lime and coarse-grained
quartz sand plaster, followed by a thin layer
of stucco, coloured in ochre. On the stucco
background are visible dark grey strips,
which outline the faces of hewn stones.
This is an imitation of quadrae masonry.
Small portion of this stucco is preserved
high on the Eastern wall of the anteroom.
There is no data for flooring, probably the
floor has been rammed clay with smoothed
surface. The roof has been probably flat,
made of wooden planks and beams.
The passageway of the tomb has been
built up entirely from custom made bricks
with lime-sandy solder. The shape and size
of the bricks are determined partially by the
areas of the external side of the Southern
wall, where the plaster has fallen off. They
are rectangular
0.205
between them are
178
Dafina Vasileva
of the walls the bricks are laid with the
short side, and the long side sets the width
of the wall. The internal height of the pas¬
sageway is
of
The total height of the brickwork in the
passageway is
floor of the passageway is covered with sev¬
eral layers. The total thickness of the floor¬
ing is
the inside with levelling lime-sandy plaster,
which is covered with thin layer of stucco
(over the surfaces with
red field). The figured scenes are painted
on a smooth lime plaster.
The round burial chamber is built of
different in width bricks, but same in thick¬
ness and length. The bricks are manufac¬
tured in view of the shape and size of the
room. In the analysis of the burial cham¬
ber design have been established the di¬
mensions of the bricks employed in the
masonry
same thickness of the walls (Fig.
length of the internal sector arch
m, the external sector arch
well as the number of the bricks used for
the first row of the masonry
are the dimensions of the bricks from the
first row to the eleventh inclusive, where
the deviation of the vault curve is mini¬
mal. The number and dimensions of the
bricks depend on the radius of the brick
rows in which they are laid. Such bricks
are used even in the topmost section of the
masonry at the stone cap, which closes the
opening of the vault. The sector curves are
0.28, 0.285
bricks in the whole brickwork of the tomb
is
The dome does not finish with bricks
but with a monolithic block, hewn to cap
shape with wider upper section. The archi¬
tect has chosen granite to maintain secure¬
ly the top section of the dome, since it is
the most vulnerable one (Fig.
ternal height of the burial chamber is
m
is
the height to the diameter of the tomb is
3.20:2.62 (1,22). .
The burial chamber is bee-hive shaped
in vertical section. The curve of the dome
twice alters its direction. The first time at
the height of
floor the curve becomes more inward. The
second inward redirection is less noticeable
at the height of
say that the curve changes its direction on
the
The realization of the tomb design and
especially the passageway and the burial
chamber, display thorough knowledge in
the fields of mathematics (geometry and
arithmetics) employed in their construc¬
tion. The exquisite and complicated shape
of the dome is a token of construction mas¬
tership. Everything has been calculated
and measured precisely. The primary ma¬
terial
ous sizes for almost each row. The bricks
have been made with a measure, making
possible the precise reproduction of the
double concave-convex curve of the dome.
The dimensions from the blueprint and
those from the actual building have mini¬
mal errors, fact proving the high construc¬
tion standards at that time in Thrace.
Design and execution of the wall-
painting scheme
The existence of developed design for
the complicated wall-painting scheme of
the Kazanlak tomb has been evidenced by
the visible even at present draft, done with
a nib of each orthustatus or figure outline
over the still damp plaster. The detailed
measuring of the wall-painting scheme is
the basis for the geometrical analysis, which
provided series of facts regarding the tech¬
niques employed in the design.
Dromos. The two long walls of the pas¬
sageway has identical schemes, continuing
over the short cross-walls, where are the
entrances to the anteroom and the burial
chamber. There are no figured scenes on
the short cross-walls. It is of interest how
the scheme has been designed and laid on
the wall surfaces, which unfolded presents
the curve of the fake vault.
The artist has divided the unfolded
height of the walls (from the floor to the
vertex of the vault) into three horizontal
fields, which together display the deco¬
rative arrangement over the walls (Fig.
74).
The Thracïan
179
with high plinth split in three rectangles
along its length (they imitate stone fac¬
ing
floor level, over a raised imitation of kerb
stone. In their upper section they once
again end with a raised in relief strip. The
second field above it, is neutral, smoothly
painted in
comes next, with alternating ornamental
and figured wall-painting. In the process
of vertical and horizontal scaling the artist
has considered the
divisions
the scheme figured frieze, displaying battle
scenes is just one foot high
The domed room. In the domed room
the artist has maintained the same scheme
distribution, like in the passageway, but
due to the hight and special function of
the room, the division of the decorative
fields has been increased in size (Fig.
The surface here is similarly divided into
three fields
field and upper field, covered in ornamen¬
tal and figured wall-painting. The three
principal fields are segmented by differ¬
ent details, based on the
its subdivisions. The analysis result for the
three parts of the third field in the burial
chamber indicates that the large figured
frieze covers two Thracian feet, the chari¬
ots scene
the surface is left for the ornamental frag¬
ments.
The wall-painting scheme in the pas¬
sageway and the domed room has been
designed and executed so their primary
details illustrate additionally constructive
elements of the building, and particularly
the profiles of the dromos and that of the
dome in the burial chamber. The redirec¬
tion of the curves coincides exactly with
the field division for the wall-paintings.
In the domed room the curve alters its
direction on the 11th and
The first wall-painting field from the floor
upwards has a slight curve and covers
brick rows
The second field
11
namental and figured wall-paintings on
brick rows. The first inward redirection of
the curve is marked with the raised over
the wall surface black band, and the second
one with a slight concavity inward from the
threefold architrave, which initiates the
entablement (the large figured frieze, the
architectural motifs and the chariot race).
The curve of the fake vault in the dro¬
mos alters twice its direction
from the 9th row up, it suddenly swerves
at the 16th row. These points are marked
as in the case of the domed room with el¬
ements of the wall-painting scheme, and
the three principal fields are highlighted
-
marked with the white raised band above
the orthostrati, and the second one, above
the red field with the cymatium below the
frieze with floral motifs, or practically with
the foot of the ornamental composition. In
both rooms the constructive finish of the
curves (the edge of the last brick row) is
marked with a saturated red line.
The described above division of the wall-
painting scheme in the tomb and the redi¬
rection points in the profile of the curves
highlighted by details of the scheme prove
the synchronous arrangement between the
architectural-constructive and artistic-dec¬
orative design.
The design analysis determined that the
unfolded in height line of the curve of the
passageway and that of the domed room
is equal to the total constructive height of
the building. In the detailed mathemati¬
cal analysis of the wall-painting schemes
this conclusion was confirmed once again.
The individual details of the scheme in the
domed room are designed and executed
over the unfolded vertical surface of its
wall, built up in height of
(from the floor to the stone cap). But, as a
matter of fact, when the curve is unfolded
the total height measures up to
rows, which is the complete height of the
domed room (Fig.
The artist has developed the most im¬
pressive scene in the burial chamber (the
so-called funeral feast) not only in vertical,
but also in horizontal direction (Fig.
Above the red neutral wall the large
figured frieze steps over a threefold archi¬
trave, which is the base of the frieze and the
artist has used as a geometric basis for the
design of the complex scheme. Over the
i8o
Dafina Vasileva
architrave
alternating rosettes and bucrania
The circle of the architrave has the vertex
as a centre
cap. The artist has divided the circumfer¬
ence in
gathered in the upper centre. On each ray
he lays the centre of a rosette. The stretch
between the axes is equal to exactly
(0.4363
and a bucranium at the same centre dis¬
tance is
plane of the circle has been divided toward
the centre in
ing in that centre (the centre of the key¬
stone
has completed the arrangement with an
8
rosette painting has fallen off immediately
after the unearthing of the tomb and it has
not been registered at all. There has been
attempt to restore its outlines:
-
is a centre of the rosette as well, the
ments are divided into
ment is exactly 30s), providing
Every second half corresponds to the
leaves of the
on the stone cap.
-
line circle between the
the Ionian cornice, the artist divides in a
horizontal plane as follows
fourth segment a column is laid
χ
is one of the chariots.
-
ed in
the centres of the rosettes on the threefold
architrave. The human figures and those
of the horses are planned between two ro¬
settes (Fig.
Therefrom, design also in horizontal
plane, unique by its nature and artistic
implementation, the arrangement in the
domed room presents three concentric
circles, which comprise in a consecutive
order the architectural elements of the an¬
cient entablement
cornice. The centre of the circles is the
centre of the
saturated red circle. It is at the same time
the constructive centre of the vertex of the
dome and starting point for the
which determine the centres of the archi¬
tectural motifs and position of the figures.
The radius of each of the three circles in¬
creases gradually from the centre at the
top down toward the floor. That is how the
artist has accomplished an incomparably
perspective effect in spite of the small size
of the room, which brings impressiveness
to the architecture and dimension to the
wall-paintings.
The grid of the horizontal bands and
the intersecting rays has been laid directly
of the newly plastered wall of the domed
room and then have been painted the
decorative and figured details. Or it could
have been done following the thoroughly
developed design and then just has been
transferred to the wall, these are some of
the unclear points of the realization.
The execution of the wall-paintings re¬
quired in great extent a developed scheme,
especially for the domed room, because:
1.
the bucrania from the architrave after he
has measured the length of the wall at this
level and divide it in
The figured composition above the ar¬
chitrave is impossible to be done immedi¬
ately. In order to distribute evenly all fig¬
ure groups over the curved surface of the
wall, the artist should have had full view of
the complex composition. It is impossible
however, since one half would always be
behind his back.
2.
possible to draw all
the centre of the
of the keystone) at uniform distances. The
keystone has been put probably after the
completion of the wall-paintings, since the
opening has been the single source of sun¬
light in the room. It is much more suitable
for the process of plastering and full-col¬
our painting than the artificial illumina¬
tion. Moreover, the rays have been essen¬
tial part of the geometric layout of the wall-
painting scheme. First and foremost they
arrange the whole scheme. Furthermore,
they are an auxiliary construction to the
central perspective
quired position of the figures and direct¬
ing them into the centre of the circle, the
The Thracian Tombs
181
point the rays come from.
The artist-architect could easily pre¬
pare a design for the wall-paintings. The
building design itself, proves he had good
command of the contemporary geometry
and skilfully had put it into practice. So,
the upper section of the domed room,
where the wall-paintings would be laid, is
reduced to a truncated cone
feet) in diameter and height of
feet and
figures already available from the design
of the building itself, and the built up now
domed room.
The unfolded surface of this truncated
cone provides the framework of the plane,
which is to be used for the most complicated
part of the wall-painting scheme. The cir¬
cumference of the cone base is divided by
the artist in
circle a hexagon, dividing its sides in
obtains
transfers these divisions over to the unfold¬
ed surface of the cone and connects them to
the vertex. Thus the
then the horizontal bands are laid. The grid
is used to draw the design of the wall-paint¬
ings, which is to be transferred to the wall of
the domed room (Fig.
The scheme of the wall-paintings in this
section could have been composed also af¬
ter the completion of the domed room. It
is of interest which is the chosen approach
by the architect-artist.
The domed room of the Kazanlak tomb
has a peculiarity of the curve. It is slight¬
ly bell-shaped in cross section, which has
not been found among Thracian domed
tombs. This original shape, on its own, can
be considered as a exceptionally interesting
idea of the architect, but the analyses show
it is in particular correlation with the wall-
paintings and especially the large figured
frieze. There is a remarkable character¬
istic standing out and providing possibil¬
ity to reckon that the architectural layout
and wall-painting scheme of the Kazanlak
tomb have been designed as a whole. The
bell-shaped dome is designed to present a
plane for the paintings directed to the au¬
dience, so the impressions of the most sig¬
nificant part (the funeral feast) of the wall-
paintings is deeply intensified. This section
has been considered by the architect in the
very process of the wall-painting design.
The profile of the curve is slightly convex-
concave, as the convex section starts from
the beginning of the entablement
architrave, serving as a base for the large
figured frieze, and in the beginning of the
Ionian cornice above (Ionian cyma and
cyma with lion head gutters) develops the
concave section. The curve decreases its
inward slant above the cornice, where the
wall-paintings are finished with the racing
chariots. Thus the wall surface has two dif¬
ferent, but smooth planes
is more visibly expressed than the second
one. The artist has achieved optical elon¬
gation of the figures from the large frieze,
contrasting with that of the chariots and
columns between them.
On account of this characteristic of the
convex curve at that point of the dome the
figures appear much taller, that the actual
height of the area -just
3.20
is a supreme perspective effect, deliver¬
ing grandeur to the figured frieze in the
domed room.
The comprehensive architectural-met¬
rical analysis of the Kazanlak tomb displays
not only the stages of design, tracing and
scaling, but also the symbiosis between the
architectural design and the excellent wall
decoration. The symbiosis, making the
tomb a masterpiece of the ancient architec¬
ture.
The tomb architecture in Thrace makes
impression with the variety of layout and
spatial solutions, the materials and tech¬
niques employed, the artistic merits of the
buildings. All of the contemporary roof
constructions are represented, beginning
with the flat covering through the fake
vault and dome and finally the most elab¬
orate building construction
semi cylindrical vault. This impressive di¬
versity is a convincing evidence for the po¬
tential of the Thracian architects and the
high economic and cultural standard of
the Thracian aristocrats. |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Vasileva, Dafina |
| author_facet | Vasileva, Dafina |
| author_role | aut |
| author_sort | Vasileva, Dafina |
| author_variant | d v dv |
| building | Verbundindex |
| bvnumber | BV022429168 |
| classification_rvk | LF 1350 LG 2900 |
| ctrlnum | (OCoLC)219700595 (DE-599)BVBBV022429168 |
| discipline | Klassische Archäologie |
| discipline_str_mv | Klassische Archäologie |
| format | Book |
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| id | DE-604.BV022429168 |
| illustrated | Illustrated |
| index_date | 2024-07-02T17:28:33Z |
| indexdate | 2024-07-09T20:57:24Z |
| institution | BVB |
| language | Bulgarian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015637382 |
| oclc_num | 219700595 |
| open_access_boolean | |
| owner | DE-M491 DE-12 DE-11 |
| owner_facet | DE-M491 DE-12 DE-11 |
| physical | 184 S. Ill., graph. Darst. |
| psigel | gbd_AEK |
| publishDate | 2005 |
| publishDateSearch | 2005 |
| publishDateSort | 2005 |
| publisher | Sofijski Univ. "Sv. Kliment Ochridski", Istoričeski Fak., Katedra Archaologija |
| record_format | marc |
| series | Studia archaeologica Universitatis Serdicensis |
| series2 | Studia archaeologica Universitatis Serdicensis : Suppl. |
| spelling | Vasileva, Dafina Verfasser aut Trakijskite grobnici architekturno-metrično izsledvane Dafina Vasileva The Thracian tombs Sofija Sofijski Univ. "Sv. Kliment Ochridski", Istoričeski Fak., Katedra Archaologija 2005 184 S. Ill., graph. Darst. txt rdacontent n rdamedia nc rdacarrier Studia archaeologica Universitatis Serdicensis : Suppl. 3 PST: The Thracian tombs. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache Vermessung (DE-588)4063048-1 gnd rswk-swf Grab (DE-588)4021716-4 gnd rswk-swf Thraker (DE-588)4119600-4 gnd rswk-swf Thraker (DE-588)4119600-4 s Grab (DE-588)4021716-4 s Vermessung (DE-588)4063048-1 s DE-604 Studia archaeologica Universitatis Serdicensis Suppl. ; 3 (DE-604)BV021544077 3 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015637382&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015637382&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Vasileva, Dafina Trakijskite grobnici architekturno-metrično izsledvane Studia archaeologica Universitatis Serdicensis Vermessung (DE-588)4063048-1 gnd Grab (DE-588)4021716-4 gnd Thraker (DE-588)4119600-4 gnd |
| subject_GND | (DE-588)4063048-1 (DE-588)4021716-4 (DE-588)4119600-4 |
| title | Trakijskite grobnici architekturno-metrično izsledvane |
| title_alt | The Thracian tombs |
| title_auth | Trakijskite grobnici architekturno-metrično izsledvane |
| title_exact_search | Trakijskite grobnici architekturno-metrično izsledvane |
| title_exact_search_txtP | Trakijskite grobnici architekturno-metrično izsledvane |
| title_full | Trakijskite grobnici architekturno-metrično izsledvane Dafina Vasileva |
| title_fullStr | Trakijskite grobnici architekturno-metrično izsledvane Dafina Vasileva |
| title_full_unstemmed | Trakijskite grobnici architekturno-metrično izsledvane Dafina Vasileva |
| title_short | Trakijskite grobnici |
| title_sort | trakijskite grobnici architekturno metricno izsledvane |
| title_sub | architekturno-metrično izsledvane |
| topic | Vermessung (DE-588)4063048-1 gnd Grab (DE-588)4021716-4 gnd Thraker (DE-588)4119600-4 gnd |
| topic_facet | Vermessung Grab Thraker |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015637382&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015637382&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV021544077 |
| work_keys_str_mv | AT vasilevadafina trakijskitegrobniciarchitekturnometricnoizsledvane AT vasilevadafina thethraciantombs |