Limbajul mitic şi religios al artei princiare getice: (sec. IV - III î. Chr.)
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Chişinău
Cartdidact
2004
|
| Schriftenreihe: | Seria Basarabica
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: The mythical and religious languages of the princely getic art (4th - 3th centuries B. C.) |
| Beschreibung: | 247 S. Ill., Kt. |
| ISBN: | 9975940633 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Cuprins
Cuprins
Cuvânt înainte
...............................................................................................7
Prefaţă
............................................................................................................9
1.
Introducere
................................................................................................11
1.1.
Obiectul cercetării
..............................................................................11
1.2.
Premisele apariţiei fenomenului artistic getic
...................................12
1.3.
Principiile metodologice
...................................................................15
1.4.
Aspecte ale spiritualităţii getice în istoriografia românească
............19
2.
Catalogul descoperirilor
...........................................................................23
3.
Analiza descoperirilor
.......................................................................45
3.1.
Aria de răspândire a pieselor figurative getice.
Contextul general arheologic al descoperirilor
.....................................45
3.2.
Caracterul funcţional şi structura tezaurelor
....................................48
3.3.
Cronologia
........................................................................................50
3.4.
Problema atelierelor de producţie
..................................................52
4.
Analiza semantică a reprezentărilor artistice
.......................................58
4.1.
Ideologia regală şi cultul eroului cavaler
.........................................58
4.1.1.
Scene cu semnificaţii
cultuale
...................................................71
4.1.1.1.
Imaginea eroului cavaler asociată cu o protomă
umană sau de animal
.......................................................................71
4.1.1.2.
Reprezentarea eroului aducând libaţii
................................84
4.1.1.3.
Schema sacrificiului
............................................................88
4.2.
Procesiunea animalelor fantastice
.....................................................94
4.2.1.
Grupul compoziţional vultur-peşte-iepure
...........................96
4.2.2.
Ţapul
..........................................................................................99
4.2.3.
Animalul fantastic octopod
........................................................101
4.2.4.
Cerbul
........................................................................................104
4.3.
Motivul luptei dintre două animale
..................................................106
4.4.
Hierogamia
.......................................................................................109
4.5.
Reprezentarea personajului femininul spaţiul artistic getic
............119
4.5.1.
Reprezentarea feminină şi problema cuplului divin
.................120
4.5.2.
Reprezentările feminine
de pe vasul
-rhyton de
la Poroina
....................................................126
4.5.3.
Motivul cariatidelor de la Sveshtari
..........................................127
6__________________
R. Ursu Naniu.
Limbajul mitic şi religios al artei princiare getice (sec.lV-lll î.
Chr.)
5.
Limbajul mitologic al artei getice. Trăsăturile caracteristice
..............131
5.1.
Raportul dintre caracterul sacru al subiectului iconografic
şi funcţionalitatea obiectului pe care
s
-а
concretizat
...............................136
5.1.1.
Coif
............................................................................................138
5.1.2.
Cnemide
.....................................................................................141
5A.3.Rhytonşiphială
........................................................................142
5.1.4.
Vase bitronconice
.......................................................................145
6.
Aspectul social şi religios
-
mitologic al aurului în societatea
arhaică
............................................................................................................146
7.
Concluzii finale
..........................................................................................149
Summary
.........................................................................................................155
Lista ilustraţiilor
...............................................................................................160
Bibliografie
......................................................................................................164
Lista abrevierilor
..............................................................................................179
Indice general
..................................................................................................180
Catalogul ilustraţiilor
.......................................................................................185
Summary
_____________________________________.--
THE MYTHICAL AND RELIGIOUS LANGUAGES
OF THE PRINCELY
GETIC
ART
(4th-3rd CENTURIES B.C.)
The informational structure of the archaic society is characterized by a
unique complex of symbols (notions), upon which all
semiotic
systems
(language, music, rituals, mythology, folklore and so on) are based. Within
the same frame, we can also include the artistic manifestations, which
besides their purely decorative function, have managed to surpass their
primordial condition, transforming themselves into real
iconographie
messages. The function of art is even more significant in a society that did
not possess writing and, despite the lack of a literary tradition has left us a
rich artistic heritage. Such a society is the
Getic
civilization, which has
faced a remarkable development of the goals and artistic trends during the
^-З 1
centuries B.C.
Being unanimously acknowledged by the antiquity as a deeply
religious people that as V.
Pârvan
(1982, 91)
has stated determined their
life, in all its aspects, the Getae-Dacians have developed a rich figurative art
with deep implications upon the deciphering of their spirituality. In its
essence, the piece of art means a reflection about the essence of reality
(Kuzmina
1983, 95),
while the shape is nothing but a mean of rendering the
content, determined by the mentality of the community to which the artist
belonged.
Setting up itself as a cultural space with millenary artistic traditions,
the
Getic
art is not reluctant to the foreign influences from which it adopts
rigorous mechanisms of selection, elements, or even
iconographie
motifs,
thus making it capable of expressing its own religious and mythological
conceptions. Being definitely affirmed by a maturity exam , the
Getic
artistic spirit goes over the preliminary phase of the ornament, the piece of
art thus becoming a measure of the spiritual world and therefore, a form of
the Universe, as it was perceived by the archaic mentality. In our opinion,
this would be the condition that determines and grounds the authenticity of
an art in its philosophical aspect. From this point of view, the artistic
representations in the
Getic
space are part of a complex and integrating
phenomenon that we call
Getic
art.
It is worth mentioning that by recognizing the mythical-religious
character of the representation we are dealing with within the
Getic
space
(unlike in the Scythian art) there are dispersed objects of local type that are
characterised by a line of features specific to the local artistic tradition. The
lack of Greek toreutic is not determined by the missing of means to achieve
256_______________
R.
UnsuNaniu.
Limbajul mitic şi
religiosa
anei princiare getice (sec.lV-lllî.
Chr.)
such luxury products, but by the flagrant unfitting between the creators
spirituality and the Getic-Dacian one , as rightfully stated by St.
Burda. In
the case of the Scythians, according to those already noticed by
D.S.
Raevskij, the anthropomorphic motif did not actually develop, their art
during the
6й-4*
centuries B.C. being dominated by the zoomorphic
representations. Their mythical-religious conceptions are yet to be found on
a whole line of toreutic pieces in Greek style, adapted to the demands of the
epoch and destined to the necessities of the Scythian aristocracy.
Thus, the
iconographie
vacuum was filled with the artistic
production of the Greek colonies, while in the
Getic
space, this problem was
solved by own forces, thus, proving the receptivity of the local artists to
create some foreign motifs, according to their own beliefs, but also to an
original aesthetic view.
Concerning the animal motifs, they have been primarily inspired from
the Scythian art, which in its turn took over and developed a line of
elements from the art of Luristan,
Urart
and Mydia. Even if, there are
stylistic motifs in common between the Scythian and
Getic
art, as by rights
stated P. Alexandrescu
(1974, 277-278),
in the approach of one motif or
another it must not always be considered as being borrowed: their
syncretism could independently occur sometimes in various cultural ranges.
Moreover, we have to mention that the spreading of the artistic
models in the antique world was not a unilateral process, in fact it induced
the emergence of some Thracian
iconographie
motifs North and South of
the Danube and, from there, they were dispersed into the Scythian art.
A well known example is the motif of the stag with horns stylised into
the shape of a bird head, initially found on a statuette in Sevlievo, dated
between
8 ћ-7л
centuries B.C. or the latest in the 6th century B.C.
(Venedikov
1975, 101-111).
Subsequently, the motif can be found on the
mold from Garcinova (the end of the 6th century B.C.) on the glass-silver
cups from Agighiol,
Porţile
de Fier
(Romania), Rogozen (Bulgaria) (the end
of the 4th century B.C.), and in the North-pontic space
-
on two little
plaques in the funerary complex from Iliciovsk (Ukraine) dated back to the
first decade of the 5th century B.C., as well as on
a plaquette
from Jurovka
(Ukraine), from the second quarter of the 4th century B.C.
Another example is the rendering of a human figure upon the cnemids
from Agighiol (Romania) and Vraca (Bulgaria), inspired by the Greek motif
of
Gorgona
with snakes, which is found again on the silver vase, discovered
in
a tumular
burial from the necropolis of Mastjugansk (Ukraine) on the
Middle Don river (fig.
60).
In their large majority, the
iconographie
motifs are present on toreutic
pieces, real attributes of the royalty. The centuries
4-3
B.C. represented a.
Summary
____________________
^
_______
i^
period of boost in developing the art of metals. Following a hiatus of more
than one century and half, it revives under another form during the
Dacian
state, until recently about
160
Getic-Dacian silver hoards (1st century B.C.-
1st century
A.D.)
were discovered.
Having deep implications in the deciphering of the
Getic
spirituality,
the representative art has the function of replacing some gaps from the
process of reconstruction with regard to the
Getic
civilization in the Late
Iron Age. The specific feature of the local art is also the topic of the
anthrop- and zoomorphic representations that surely render certain myths,
whose nature we could guess, but whose significance we miss
(Dumitrescu,
Vulpe,
1988, 109).
As a basis, were also employed the
writings of the antique authors about the Thracian gods and some practises
connected to their cults, with Herodotus on the first place. By now, the texts
of Herodotus could not be by now entirely comprehended and explained
because, as he didn t fully understand the religious representations of the
Thracians, the father of the history has tried to make the interpretation of
their divinities by using the perspective of the Greek pantheon. Thus, the
Greek Ares is assigned the role of a local divinity of solar nature, a god of
the war, who has certainly played an important role into the Thracian
religion. Aspects of this cult are to be found in armed horse riders
representations on cheek pieces of the helmet from Agighiol (Romania) and
apliques
at Letnica (Bulgaria). The cult of this god goes back to the
beginning of Indo-European religion, where its central figure was
represented by an Uranian divinity
-
the god of the sky, storm and
lightening, the enemy of the dragon, with which he had a confrontation on
life or death. Tackled from this perspective, the custom of the Getae to
shoot arrows towards the sky during the storm (Herodotus, Histories, IV,
94)
could be explained by their intention of helping their god Gebeleisis, to
disperse the clouds/the dragon and to release the waters of the sky, the life
bringers.
At the same time, the hypothesis of a legendary ancestor cult, a
people founder, cannot be eluded as it later on appears in the scenes with the
Thracian knight . The multiple attributes of his representations enable one
to catch a glimpse of a complex divinity with several functions and
respectively several
iconographie
aspects. Ares, when he appears as a
warrior;
Dionysos,
when he appears in pair with the feminine divinity
Ariadna
(i.e. Artemis), expressing the idea of fertility, fruitfulness (i.e.
marriage), but also the one of immortality and revival; supreme divinity
(maybe Hermes), with the vulture and phiala in hands:
Heros in
funerary
context suggesting the idea of heroisation after death.
With respect to the feminine divinity, we ought to mention that the
oldest religious representations in the Carpathian-Balkan space are
158_________________
R-
UrsuNaniu.
Limbajul mitic
ψ
religios al artei princiare getice (secIV-lll
і.
Chr.)
connected to the cult of the Great Goddess, which is being rendered in a line
of plastic-sculptural representations, of the neo-eneolithic time. The
cultivation of plants and animal breeding, the same as the primordial role of
women in the biological process of life reproduction and providing descent
-
that sometimes established her in a special position within the prehistoric
communities
-
have naturally generated a cult of fecundity and fertility and,
accordingly, some magic-religious practises, as expression of this cult
(Dumitrescu,
1974,170).
This female divinity continued to play an important role in the
Thracian pantheon, even in the Late Iron Age, being identified by
Herodotus with Artemis. The Greek historian probably refers to the
worshipping of a goddess, whose cult was connected with the forces of
nature and which is one of the attributes of the Mother Goddess. Sometimes,
its image is associated with vegetal elements (i.e. the caryatids in Sveshtari-
Bulgaria), being well known the semantic proximity between the human
being and vegetation that is characteristic to the agricultural populations. In
this hypostasis the presence of feminine representations in funerary rituals is
well known, their image being rendered on many pieces of burial inventory
or on mural paintings. The idea of cyclic revival resembling the forces of
the nature are also characteristic to the rituals connected to the New Year,
and are combined here with the idea of immortality obtained by death and
subsequently by marriage with the Great Goddess.
The motif of the marriage with the Great Goddess, as an important
prerequisite in obtaining immortality, originates in the matrilineal tradition
of passing on the power (it has no connection with the way of establishing
the filiation but with the role of the royal women of a vehicles of the
sacrality of the king) and in some antique peoples the annual renewal of the
royal power was supported by the ritual act of marriage. In all three types of
royalty (magic, magic-religious and divine), the incestuous marriage, as
shown above, is meant to guarantee, the woman (mother, daughter, sister)
the legitimate succession to the throne.
The formation of a repertory of zoomorphic motifs also hangs upon a
certain vision upon the Universe, reflecting its structure and including the
position of man within this system, the relation man-divinity etc.
Among the issues we have approached in this study was also the one
of identifying the semantic function of the zoomorphic representations that
emerge from the composition context, because, being some vectors of
access into the universe and instruments of its knowledge, the animals
compose a complex code, susceptible of expressing an example of
knowledge and beliefs and consequently let room to multiple interpretations
(Shiltz,
1994,61).
Summary
__________________________________________________________________
J_59
The contradictions among the cosmic areas have been expressed by
the motif of a fight between animals that render one of the fundamental
principles of the dual Indo-European religion, the one of the conflict
between the good and evil forces, the cosmic balance depending upon its
result.
(Alexandra
Comşa)
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| id | DE-604.BV040631106 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:27:51Z |
| institution | BVB |
| isbn | 9975940633 |
| language | Romanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025458370 |
| oclc_num | 854682534 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 247 S. Ill., Kt. |
| publishDate | 2004 |
| publishDateSearch | 2004 |
| publishDateSort | 2004 |
| publisher | Cartdidact |
| record_format | marc |
| series2 | Seria Basarabica |
| spelling | Ursu Naniu, Rodica Verfasser aut Limbajul mitic şi religios al artei princiare getice (sec. IV - III î. Chr.) Rodica Ursu Naniu Chişinău Cartdidact 2004 247 S. Ill., Kt. txt rdacontent n rdamedia nc rdacarrier Seria Basarabica Zsfassung in engl. Sprache u.d.T.: The mythical and religious languages of the princely getic art (4th - 3th centuries B. C.) Geschichte 400 v. Chr.-300 v. Chr. gnd rswk-swf Daker (DE-588)4070196-7 gnd rswk-swf Mythologie (DE-588)4041005-5 gnd rswk-swf Religion (DE-588)4049396-9 gnd rswk-swf Daker (DE-588)4070196-7 s Religion (DE-588)4049396-9 s Geschichte 400 v. Chr.-300 v. Chr. z DE-604 Mythologie (DE-588)4041005-5 s Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025458370&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025458370&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Ursu Naniu, Rodica Limbajul mitic şi religios al artei princiare getice (sec. IV - III î. Chr.) Daker (DE-588)4070196-7 gnd Mythologie (DE-588)4041005-5 gnd Religion (DE-588)4049396-9 gnd |
| subject_GND | (DE-588)4070196-7 (DE-588)4041005-5 (DE-588)4049396-9 |
| title | Limbajul mitic şi religios al artei princiare getice (sec. IV - III î. Chr.) |
| title_auth | Limbajul mitic şi religios al artei princiare getice (sec. IV - III î. Chr.) |
| title_exact_search | Limbajul mitic şi religios al artei princiare getice (sec. IV - III î. Chr.) |
| title_full | Limbajul mitic şi religios al artei princiare getice (sec. IV - III î. Chr.) Rodica Ursu Naniu |
| title_fullStr | Limbajul mitic şi religios al artei princiare getice (sec. IV - III î. Chr.) Rodica Ursu Naniu |
| title_full_unstemmed | Limbajul mitic şi religios al artei princiare getice (sec. IV - III î. Chr.) Rodica Ursu Naniu |
| title_short | Limbajul mitic şi religios al artei princiare getice |
| title_sort | limbajul mitic si religios al artei princiare getice sec iv iii i chr |
| title_sub | (sec. IV - III î. Chr.) |
| topic | Daker (DE-588)4070196-7 gnd Mythologie (DE-588)4041005-5 gnd Religion (DE-588)4049396-9 gnd |
| topic_facet | Daker Mythologie Religion |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025458370&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=025458370&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT ursunaniurodica limbajulmiticsireligiosalarteiprinciaregeticeseciviiiichr |