Kalăpi i matrici ot bălgarskoto srednovekovie: (IX-XIV v.) = Moulds and dies from Bulgarian Middle ages
Gespeichert in:
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| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Veliko Tărnovo
Izdatelstvo "Faber"
2015
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| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | Zusammenfassung in englischer Sprache |
| Beschreibung: | 312 Seiten Illustrationen |
| ISBN: | 9786190003373 |
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Stela Doncheva
MOULDS AND DIES FROM BULGARIAN MIDDLE AGES
(IXth - XIVth c.)
(Summary)
Introduction
The current work examines a rare kind of artefacts of the Bulgarian Medieval jewellery art. These are the moulds and dies - the basis of the jewellery production from Antiquity to Modern times. The discovery of such objects in the country is a proof for the good practice of professionally trained craftsmen, who have perfected all the aspects of the craft. Despite the important role of moulds and dies in the process, however, they are quite rare artefacts, and it is not only in our country. That’s why their storage and preservation was of huge significance. Not surprisingly, large findings of different instruments include moulds (dies), carefully hidden and protected against violation. Objects of good quality are rarely found in the places where they were used, i. e. in workshops and in art metal ateliers. They were carried away along with the most valuable properties of their owner, who was forced to leave his home due to different reasons. Some whole objects in better condition are found only in the places with prolonged activities, mostly in the big city centres and in some accidentally found burials. All the others are usually damaged and quite worn off. During the middle ages, common practice of the goldsmiths was to leave their instruments to their sons, friends or inheritors of the craft. For example, the inheritance of John Colan from York, who died in 1490, consisted of a list with goldsmiths tools. Several types of hammers, moulds, pliers, swages, a small anvil, pair of scales and files are mentioned. Together with the important and invaluable information brought by each object, this is a sufficient reason to pay the necessary attention to them. The examination of the medieval moulds and dies from the Bulgarian lands will fill up some gaps on the theme and will enrich our notion for the jewellers’ work from that period.
Some disputable and unclear moments about their dating, purpose and usage will also be clarified and specified. New questions will probably be raised, which is one of the aims of the current work.
The current work is divided into several chronological sections, defined by the artefacts themselves. Often the articles have no exact dating, so the different periods should not be abruptly divided in time. The processes and the phenomena are a gradual transition and perfection of some forms into others, from one practice into another, and go beyond a century. That’s why the text complies with it when it is possible. Each chapter consists of two parts - first the moulds and then the dies. This separation is imposed not only by their different material, but also by their specific usage and purpose. The final section examines the practical implementation of the production means considering the craft traditions and the aesthetics characteristic of the period. In the end there are a few concluding words for the important observations and inferences made during the study. A list of the works cited and of the abbreviations is added to the text.
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Moulds and Dies from Bulgarian Middle Ages (IXth - XIVth c.)
105
The catalogue of artefacts is an important part. It includes their main characteristics and some close analogues. The images are presented through photos and graphic restorations of the objects that are not so well-preserved or miss important details. Others have only graphic image, based on the publication, because it is not possible to make a high quality digital image. For one of the dies (with the saint-warrior from the Plovdiv Museum) there is no metric data, and it is included only as an analogue. The reasons for these “omissions” are through no fault of the author and they are beyond the current work purposes.
Early Bulgarian Middle Ages (IXth-XIth c.)
Several conclusions are drawn after the examination of the jewellery tools from the Early Bulgarian Middle Ages (IX-XI century). Most common among the moulds are the stone ones (Cat. No 1, 2, 5, 7, 8, 9, 10, 11, 13), followed by the clay ones (Cat. No 4, 6, 12, 14). The latter are usually formed from a brick fragment, with carved negative image of the objects (Cat. No 4, 12, 14) and on rare occasions from the object itself imprinted in the soft clay (Cat. No 6). Only two of the moulds are made from metal: the first one is for casting wax models used as appliques -from lead (Cat. No 3) and the second is for lead plombs - from bronze (Cat. No 20). Almost all moulds are parts of double forms, connected with metal pegs, the openings for which are preserved in most of the objects. There are two single moulds - the lead one for appliques (Cat. No 3) and the one for ingots (Cat. No 14). Both moulds are used to cast materials with low melting temperature, like wax and lead. The only exception are the moulds for lead plombs, which consisted of two parts (Cat. No 15-20). All the other tools are used mainly for bronze objects, which implies reaching higher inciting temperatures and using more elaborate casting forms, such as the double moulds.
The presented dies from this period are fewer but more varied. There are no recurrences -all forms and images are unique. They are made only of bronze, and represent a wide variety of articles, produced by imprinting thin metal plates on them. Except for adornments - beads, rings, buttons (Cat. No 21 -23), there are also appliques with Christian symbols (crosses, birds) (Cat. No 24, 26) and with mythological creatures (Cat. No 25). These examples are just a small part of the rich palette of ornaments, images and stories, which were popular and preferred during this period and under mass production thanks to the jewelleries’ work.
Byzantine period (XIth-XIIth c.)
The studied bronze dies represent some of the most important Christian characters, depicted during the Middle Byzantine period. Some of them are works of the Byzantine art and others are locally produced. During the Late Middle Ages, many of the images on the different metal articles are executed according to personally prepared models. During the period from X to the end of XI century, however, the models often had foreign origin. The works of art from expensive metals and enamel are a proof for the gradual improvement of craft skills. The current tools, as an important element of a good jewellers kit, are an example of this process.
It should be noted that the dies with Christ are only two, and on one of them He is represented with the Holy Virgin Mary (Cat. No 27-28). The Mother of God in on three of the dies -two single images of Hodegetria (Cat. No 29) and Episkepsis (Cat. No 30) and the third one is a collective die with Christ on a throne (Cat. No 27). The rest of the dies represent other (the defi-
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Cmena flotmeea Kam nu u Mampuu,u om E’bmapcKomo cpednoeeKoeue (IX XIV e.)
nition “secondary” is not appropriate) Christian characters - St. John the Baptist (Cat. No 31), St. Peter (Cat. No 32), St. Theodore Stratelates (Cat. No 33), St. George (Cat. No 34), St. Demetrius (Cat. No 35-36), the Archangels Michael and Gabriel (Cat. No 37-38). The saints-warriors, who gained huge popularity in the XI century, have priority in the second group. The origin of the cult as early as the X century is determined by the historical reality. “As part of the vigorous military expansion, Byzantium needed a patron saint for the Emperor who stands at the head of the army and his commanders”. The imperial theme influenced the iconography of saints-warriors. The constant battles from that period necessitated warrior patrons and leaders. St. George, St. Theodore Stratelates and St. Demetrius were entrusted with these functions and this leads to changes in the iconography. The chitons and Patrician clothing were replaced by chain mail and armour, the crosses - by spears and swards, and the humble martyrs’ expressions - by courageous postures. The special function of the saints-warriors and their weapon was established during this period. The saints’ figures on all of the presented artefacts, with preserved chiaroscuro and relief, were response to the “classicism” of the Macedonian dynasty. Since the end of the Iconoclasm a contrary tendency occurred and part of the objects created during that period represent a “revival” and a direct copy of older models. The grown influence of the Antiquity is seen in the icon, the miniature and the applied art, rather than in the monumental painting. It is expressed by the classical proportions of the figures, by the almost sculptural way to represent the volume, by the ease with which their movement is portrayed, by the character and the lines of their clothing.
Since the XI century, the classical Byzantine style, formed again in the end of the previous century, is spread beyond the borders of Constantinople, which became a centre where originated many works of art, later copied. During the XI-XII century, the new style gradually enters into different techniques of the applied art throughout the Byzantine world. The iconography marks are preserved most accurately in the models from the capital. Some of the single images were popular in the second biggest city in the empire - Thessaloniki, so they were created in accordance to its models.
The artefacts preserved till nowadays prove that there is no precise division between production and spreading of these objects. Also, there are not enough reasons to consider all works as imported. So it should be concluded that in most cases they are created on the spot, according to a given model. The current artefacts are a proof of that - they are not numerous, but the quantity is enough to indicate the existence of a local production. The peculiarities of the casting technique allow of repeated multiplication of different articles and this indicates the spreading roads of the Byzantine art culture and the countries influenced by it. In these cases, no foreign craftsmen were needed. The imported originals were copied by the local jewellers. So the models of the different iconographic types were created mainly in the ateliers of the Byzantine capital and later spread to the medieval Bulgaria.
Late Bulgarian Middle Ages (XIIth-XIVth c.)
The examined 39 moulds from the Late Middle Ages represent the variety of popular metal articles produced during that period. The adornments, casted in most of the moulds are with priority. Most numerous are the ones with floral decoration (rosettes, little palms, trefoils) (Cat. Vo 39-44, 60), after them are the earrings of the ear-tab kind (xa/iKMTe-HayniHMijM) (Cat. No 49-53, 57) and earrings with moon ornaments (Cat. No 45-47). There are also two moulds for ordinary earrings (Cat. No 55-56, 64). Belt fittings are casted in nine of the moulds - buckles (Cat. No 61-64), appliques (Cat. No 43, 48, 53) and belt ends (Cat. No 43). The most common
Moulds and Dies from Bulgarian Middle Ages (IXth - XIVth c.)
107
ornaments in the composite moulds are buttons and pendants (Cat. No 54, 57). There are a few forms that are used for such articles only (Cat. No 66-68). Some rings with images are also casted - with double-headed eagle (Cat. No 46) or only plates with no ornaments (Cat. No 48). Except for adornments and belt fittings, some Christian cult objects like crosses, medallions (Cat. No 57-59), are also made. Three of the moulds are used to cast sphere-cones - vessels for preservation and transportation of liquid and powdered materials (Cat. No 71-73). A few of the moulds are designed for casting of ingots, which are used in the further production (Cat. No 74-77). Almost all moulds include the same set of images but in different combinations - appliques and ornaments with buttons (Cat. No 40), appliques with belt ends (Cat. No 43), earrings with clasps and appliques (Cat. No 52-53), buckles with earrings (Cat. No 64), moon decorations with rings (Cat. No 46), crosses with earrings and buttons (Cat. No 57), crosses with ornaments (Cat. No 59), pendants with earrings (Cat. No 54), elaborate ornaments (Cat. No 54, 60), etc. Their combination is without reference to their type and purpose of the end articles. The lack of definite order in the images shows that the engraver was guided solely by the technical requirements of mould processing - size of the illustration, material, type of the mould - single (onesided), double (double-sided) or composite.
Most of the moulds are double (connected with metal pegs), but only one of the parts is preserved till nowadays. The complex composite forms, consisting of more than two separate parts, are also numerous (Cat. No 40, 44-46, 49, 52-53, 56-57, 59, 64-65, 70-73). In most cases the separate parts are carved on both sides and another part is added to the corresponding side when casting. So the mould consisted of at least three parts. There are many single moulds as well. They have no casting channels so the metal is poured directly in the form (Cat. No 48, 60, 63, 69, 74-77). Two of the moulds discovered in the Tsarevers fortress are of the “imitation” type (Cat. No 47, 66). They are used to create hollow objects through sophisticated technology (casting though splashing), which required a master in the jewellers craft to cope with it. The three moulds for sphere-cones are completely preserved. They consist of four separate parts connected through lead pegs, (Cat. No 71-73). They are used to create large closed vessels following a special (splashing and slip casting) technology, known and utilised even nowadays.
The dies are divided into four thematic groups. The first one is with Christian characters. The Holy Virgin Mary is depicted on four of them in two different scenes - Annunciation (Cat. No 78) and with the Infant Jesus (Cat. No 79-81). The first two are works of the capital Byzantine art (Cat. No 78-79) and the last one is a wasted work of the local production (Cat. No 81). The rest of the Christian characters are represented by the Archangel Michael (Cat. No 82) and the three saint-worriors - St. Theodore Tyron, St. Theodore Stratelates and St. George (Cat. No 82). Both dies are created by local craftsmen, even by one and the same workshop, which was probably situated in the vicinity of the village of Lozarevo, Burgas region. A proof of that is the identical representation of the figures of the Archangel and of St. Theodore Tyron, both done in the same way. Undoubtedly, some similar images are used as a basis, while the differences between them are caused by iconographic features of the characters themselves.
The dies for appliques are a separate group - a total number of five, and only one of them is a bit different (Cat. No 88). The rest are identical and prove that forehead bands are an important part of the womans clothing (Cat. No 84-87). Two of the dies have zoomorphic images — those for seals have a double-headed eagle (Cat. No 89) and a die with a griffin (Cat. No 90). Most numerous is the group of dies for buttons - eight in total (Cat. No 91-98). Except for the various materials used for them (bone, clay, stone), the articles created of them are also diverse.
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Cmena flonneea Kamnu u uampuuu om E^mapcnomo cpednoeeKoeue (IX-XIV e.)
All the above, proves that a well-organized jewellery production existed during the Late Middle Ages and most of the used tools are local. Some single objects are made by Byzantine craftsmen, but most of them are created in the local workshops following the established practices of the craft. This production is concentrated mainly in the big city centres of the Second Bulgarian Kingdom.
Purpose and use
The number of moulds is bigger than the dies - it is determined by the widely spread during the middle ages practice of metal casting, which was a legacy from the antiquity. The moulds presented in the current work are an indisputable proof for the development of the metallurgic production in mediaeval Bulgaria. Both the moulds and the models themselves are created in the ateliers for art metals. Different types of stone are used - mainly marlstone, limestone and schist. They can be found in the western and central Balkan mountain, Strandzha and southwest Bulgaria.
The basis of casting process is creating a cast by pouring a molten metal into a fireproof form prepared in advance. The gap in the form represents an accurate negative imprint of the object. After hardening the metal preserves its form. Since the antiquity, the casting is one of the most commonly used methods because it allows the production of models and details with highly complex external form, gaps and specific internal contour. The collection of moulds found during the explorations of medieval settlements and fortresses in Bulgaria, determines two major casting techniques - in one-sided and in double-sided form. The distinguishing mark is the presence or absence of litnik, i. e. a small channel used for pouring the molten metal into the form.
The larger and complex objects are casted in composite moulds. They are used for more complex forms that can be easily pulled out of the moulds. It’s obligatory to leave special openings for leading off the gases and the air - in this way the final article will be complete and of higher quality.
In the end of X-XI century, the use of stone forms in the jewellery practice is revived. By that time most of the adornments are casted according to a wax model by preserving the form or not. During the XII-XIII century the casting in stone moulds becomes major technological method not only in Bulgaria. Some changes in the jewellery art occurred in the first half of XII century: the jewellers aim at mass production so they choose the methods with less difficulties during work. This process can be traces also in other crafts related to the spreading market and trade. This explains the popularity of stone moulds. The casting in imitation forms occurs in the XII century as a result of the craftsmans pursuit of simplifying the labour-intensive operations during the processing of the non-ferrous metals (forging, granulation, filigree) and to replace them with simple casting in detailed composite forms.
The dies are fewer than the moulds, but the images on them are more complex and varied. Thin metal relief images are made with the dies, and they are further used for appliques and medallions or for inlaying of crosses, icons, clothing decorations, ampoules and reliquaries. Most of the presented dies, mainly form the Byzantine and the Late Middle ages period, have Christian images. Their application on cultic objects is established in the art during the XI century, while their half-length depiction is very common (img. 67). According to the written sources, starting from the XI and throughout the XII century, the role of the silver facings is getting more important and the background between them is filled with ornaments from creepers and little palms.
Moulds and Dies from Bulgarian Middle Ages (IXth - XIVth c.)
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The production of imprints using the dies is as common as the casting in moulds. They have some common features — mass production, precision when creating the first model. There are also some differences - mainly as far as the material economy is concerned, the dies gain advantage over moulds.
Conclusion
The jewellers tools (among which the dies and moulds are of greatest importance) are an evidence for the good organization of the art metal production during the Bulgarian Middle ages and the mastered techniques of the jewellery craft. The existence of a few production centres during the X century in the vicinity of Preslav (near Nadarevo, Novosel and Zlatar), which were relatively at the same distance from the capital, imposes the idea that a special industrial area was set up in the city surroundings. The intense activity and numerous productions prove that the works of jewellery art have been familiar not only in the surrounding area but also in the more distant settlements. The moulds and dies, as well as the diverse tools found during the excavations near Preslav and other settlements and fortresses from the First Bulgarian kingdom, are a clear evidence for the existence of a well-developed production concentrated mainly in the northeast parts of the country.
The period of Byzantine rule is transitional and during it some new ideas, symbols and images from Byzantium enter into our country. The emphasis is on the Christian theme with all the various topics and forms creatively processed by the local master jewellers. The confirmation of that are the dozens of dies with similar iconography. The stone moulds gained ground in the XI century, yet there are no precisely dated forms from that period. The moulds included in this work are included in the first (IX-XI century) and the last (XII-XIV century) section - this is more proper way to represent the transition in the development of forms. Most of these moulds are used for casting of adornments and decorations and rarely of cult objects, like crosses and medallions.
In the Late Middle ages the organisation of jewellery production is on another level. The ateliers for art metal are concentrated mainly in the bigger city centres. This is proved by the long examinations in that area. The found vessels (nora), the varied tool set and the architectural remains of craftsmens buildings confirms the existence of specialised workshops for various products of the jewellery art - mainly maid of copper, bronze and precious metals. Often these workshops are part of the craftsman’s dwelling so usually they are situated on the ground floor or are later added to the main building. This practice is established and imposed due to the lack of space and the heavily build-up quarters. In the Tarnovo capital, Shumen, Melnik, Cherven and the other city centers the situation is similar. In Melnik, for example, near the church of St. Nikola”, are discovered the remains of a goldsmith workshop from the second half of XII — beginning of XIII century. Some clay vessels (nora) with copper oxide leftovers and a thin green layer, production furnaces and various tools are found in Tarnovo - a certain proof that in the Tsarevets fortress, on the terraces between the Royal Palace and the Patriarchate, there were many workshops. Three workshops are discovered in the main fortress of the capital but there is data for another three of them. Their location indicates that they were not detached in a certain quarter but they were on the ground floors of the buildings which facilitated the access to them and the trade. This definitely confirms that in the Late Middle age Bulgarian cities there was well-developed jewellery the production from which is in every way equal to the one from
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Cmena ffomeea r^ Kamnu u Mampuu,u om B^mapcKomo cpeduoeeKoeue (IX-XIV e.)
Byzantium and the other centres. The high golden and silver yields during the XIII-XIV century contribute to the crafts development and stimulate the coinage. In a description of Bulgaria from 1308, the process is presented as follows: “the land of the Shishmanids is abundant in gold and silver. there are many silver mines in it and everybody brings auriferous gravel from which, at the order of the king, is obtained gold.” In the XIII century the silver became subject to foreign exchange between Bulgaria and Dubrovnik, and later of the separate kingdoms. The export of precious metals is at the basis of the significant economic upswing of Bulgaria, which is mirrored by the elitist art production. Throughout the centuries, however, the Byzantine capital remains the leading centre - the original and high quality works of the goldsmiths art are created there. The jewellery craft is learned and mastered by the local craftsmen and this opens the unlimited possibilities for reception and creative reproduction of established styles and influences. This is proved by the current artefacts.
CT»flT P)KAHME
riPEflroBOP. 7
PAHHO EtTirAPCKO CPERHOBEKOBME (IX-XI b.).9
BM3AHTMMCKM FIEPMO^ (XI-XII b.).23
ICLCHO EEJIIAPCKO CPERHOBEKOBME (XII-XIV b.).47
IIPERHA3HAHEHME M ynOTPEBA.73
SAKTUOHEHME.85
JIMTEPATYPA.87
CLtMCNK HA OBPA3MTE B TEKCTA.97
C'BKPAIIiEHMB.103
MOULDS AND DIES FROM BULGARIAN MIDDLE AGES (IXth - XIVth c.)
(Summary).104
nPMJIOXCEHME.Ill
KATAJIOr.121
5
CONTENTS
INTRODUCTION.7
EARLY BULGARIAN MIDDLE AGES (IX^-XI* c.).9
BYZANTINE PERIOD (XI^-XII* c.).23
LATE BULGARIAN MIDDLE AGES (XII^-XIV111 c.).47
PURPOSE AND USE.73
CONCLUSION.;.75
LITERATURE.87
LIST OF THE IMAGES IN THE TEXT. 97
ABBREVIATIONS.103
MOULDS AND DIES FROM BULGARIAN MIDDLE AGES (IXth - XIVth c.)
(Summary).104
CATALOGUE.Ill
APPENDIX.297
6 |
| any_adam_object | 1 |
| author | Dončeva, Stela 1972- |
| author_GND | (DE-588)133041093 |
| author_facet | Dončeva, Stela 1972- |
| author_role | aut |
| author_sort | Dončeva, Stela 1972- |
| author_variant | s d sd |
| building | Verbundindex |
| bvnumber | BV043459587 |
| ctrlnum | (OCoLC)959229377 (DE-599)BVBBV043459587 |
| era | Geschichte 800-1400 gnd |
| era_facet | Geschichte 800-1400 |
| format | Book |
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| geographic | Bulgarien (DE-588)4008866-2 gnd |
| geographic_facet | Bulgarien |
| id | DE-604.BV043459587 |
| illustrated | Illustrated |
| indexdate | 2024-08-10T01:11:30Z |
| institution | BVB |
| isbn | 9786190003373 |
| language | Bulgarian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028876829 |
| oclc_num | 959229377 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 312 Seiten Illustrationen |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | Izdatelstvo "Faber" |
| record_format | marc |
| spelling | Dončeva, Stela 1972- Verfasser (DE-588)133041093 aut Kalăpi i matrici ot bălgarskoto srednovekovie (IX-XIV v.) = Moulds and dies from Bulgarian Middle ages Stela Dončeva Moulds and dies from Bulgarian Middle ages Veliko Tărnovo Izdatelstvo "Faber" 2015 312 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Zusammenfassung in englischer Sprache Text bulgarisch Kyrillische Schrift Geschichte 800-1400 gnd rswk-swf Werkzeug (DE-588)4065596-9 gnd rswk-swf Gussform (DE-588)4130901-7 gnd rswk-swf Matrize Umformen (DE-588)4377817-3 gnd rswk-swf Bulgarien (DE-588)4008866-2 gnd rswk-swf Bulgarien (DE-588)4008866-2 g Werkzeug (DE-588)4065596-9 s Matrize Umformen (DE-588)4377817-3 s Gussform (DE-588)4130901-7 s Geschichte 800-1400 z DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028876829&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028876829&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Dončeva, Stela 1972- Kalăpi i matrici ot bălgarskoto srednovekovie (IX-XIV v.) = Moulds and dies from Bulgarian Middle ages Werkzeug (DE-588)4065596-9 gnd Gussform (DE-588)4130901-7 gnd Matrize Umformen (DE-588)4377817-3 gnd |
| subject_GND | (DE-588)4065596-9 (DE-588)4130901-7 (DE-588)4377817-3 (DE-588)4008866-2 |
| title | Kalăpi i matrici ot bălgarskoto srednovekovie (IX-XIV v.) = Moulds and dies from Bulgarian Middle ages |
| title_alt | Moulds and dies from Bulgarian Middle ages |
| title_auth | Kalăpi i matrici ot bălgarskoto srednovekovie (IX-XIV v.) = Moulds and dies from Bulgarian Middle ages |
| title_exact_search | Kalăpi i matrici ot bălgarskoto srednovekovie (IX-XIV v.) = Moulds and dies from Bulgarian Middle ages |
| title_full | Kalăpi i matrici ot bălgarskoto srednovekovie (IX-XIV v.) = Moulds and dies from Bulgarian Middle ages Stela Dončeva |
| title_fullStr | Kalăpi i matrici ot bălgarskoto srednovekovie (IX-XIV v.) = Moulds and dies from Bulgarian Middle ages Stela Dončeva |
| title_full_unstemmed | Kalăpi i matrici ot bălgarskoto srednovekovie (IX-XIV v.) = Moulds and dies from Bulgarian Middle ages Stela Dončeva |
| title_short | Kalăpi i matrici ot bălgarskoto srednovekovie |
| title_sort | kalapi i matrici ot balgarskoto srednovekovie ix xiv v moulds and dies from bulgarian middle ages |
| title_sub | (IX-XIV v.) = Moulds and dies from Bulgarian Middle ages |
| topic | Werkzeug (DE-588)4065596-9 gnd Gussform (DE-588)4130901-7 gnd Matrize Umformen (DE-588)4377817-3 gnd |
| topic_facet | Werkzeug Gussform Matrize Umformen Bulgarien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028876829&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=028876829&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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