Considering creativity : creativity, knowledge and practice in Bronze Age Europe / edited by Joanna Sofaer.

Format:

Book

Contributor:

Sofaer, Joanna R., editor.

Series:

Archaeopress archaeology.

Archaeopress Archaeology

Language:

English

Subjects (All):

Bronze age--Europe.

Bronze age.

Creative ability--Europe--History--To 1500.

Creative ability.

Europe--Antiquities.

Europe.

Europe--Civilization--To 1500.

Physical Description:

1 online resource (178 pages) : illustrations (some color), maps.

Edition:

1st ed.

Place of Publication:

Oxford : Archaeopress Publishing Ltd, [2018]

Summary:

Creativity is embedded in human history. Indeed, it is impossible to understand material change and the development of the new without invoking creativity. The location, exploration and analysis of creativity should therefore be of particular concern to archaeologists. This volume engages with this challenge by focusing on the outcomes of creativity - material culture - and an exploration of creative practice. The European Bronze Age provides a useful focus for discussions of the outcomes of creativity because in this period we see the development of new and pre-existing materials that we take for granted today, in particular textiles and bronze. We also see new ways of working with existing materials, such as clay, to create novel forms. In both new and existing materials it is frequently possible to see the growth of technical skill, to produce complex forms and elaborate decorated surfaces.

Contents:

Cover

Copyright Page

Contents Page

List of Figures

Introduction

Joanna Sofaer

1. Creativity and Knowledge

Bengt Molander

2. Copying from Sherds. Creativity in Bronze Age Pottery in Central Iberia (1800-1150 BC)

Antonio Blanco-González

3. Creativity versus Taboo in Late Bronze Age Central and Southeast Europe

Carola Metzner-Nebelsick

4. Dull Hues versus Colour and Glamour.

Creative Textile Design in the 2nd Millennium BC in Central Europe

Karina Grömer and Regina Hofmann-de Keijzer

5. The imaginary crested helmet of Vercingetorix: What is 'Creativity' in Bronze Age metal production?

Anne Lehoërff

6. Creativity and the Making of a Pottery Decoration Style in Middle Bronze Age Transylvania: The Building of a Theory of Movement

Nona Palincaş

7. The Nordic razor as a medium of creativity

Flemming Kaul

8. In the Beginning was the Fibre

Antoinette Rast-Eicher

9. Towards Textile Textures

Lise Bender Jørgensen

10. The Apperance of Fibulae in the Late Bronze Age. Creativity in the Crafting of the First Clothes Fasteners in the South of the Carpathian Basin

Daria Loznjak Dizdar

11. Creative Elaboration in Clay in the Early Bronze Age in the Carpathian Region

Jozef Bátora

Notes on Contributors

Figure 2.1. The Iberian Peninsula and the area of the Cogotas I culture (1800-1150 cal BC)

Figure 2.2. 1a and b) Early Neolithic stab-and-drag examples from El Mirador (Burgos) and from 1c) Atxoste (Álava)

2a) Ciempozuelos Beaker bowl from Las Carolinas (Madrid)

2b) Beaker from Molino Sanchón II (Villafáfila, Zamora)

3a) Late Bronze Age vess.

Figure 2.3. 1a) Encrusted Beaker carinated bowls with pseudo-excised motifs from La Salmedina (Madrid) and 1b) from Cuesta de la Reina (Ciempozuelos, Madrid)

2. Late Bronze Age jar featuring checkerboard excised motives with white paste from Pórragos (Bo

Figure 2.4. Duffaits sherds in Middle Bronze Age cave contexts.

Figure 2.5. One of the earliest Middle Bronze Age excised motifs from a stratified context at Los Tolmos (Caracena, Soria).

Figure 2.6. 1) Early Neolithic sherd with stab-and-drag decoration

2) Bell Beaker sherd, both found in non-disturbed Middle Bronze Age contexts at El Cerro (Burgos).

Figure 3.1. 1) Early Bronze Age armlets from the hoard of Berlin-Lichtenrade, Germany

2) the hoard in a grave from Lockington, England

3) Late Bronze Age armlets from kurgan 24 from Hordeevka, Ukraine

4) Late Bronze Age hoard of Derrinboy, Co. Offaly,

Figure 3.2. Selection of Early Bronze Age bronze artefacts which did not form a tradition: 1) sceptre-like staff from Welbsleben

2) club from Thale, both Saxe-Anhalt, Germany

3) cast bronze jar from the Skeldal hoard, Jutland, Denmark

4-5) chains from

Figure 3.3 Bronze grave goods from the 13th c. B.C. burial mound from Čaka, Slovakia

Figure 3.4 Reconstructed sheet bronze cuirasses from 1) Čaka

2) Ducové

3) Čierna nad Tisou, all in Slovakia

4) Saint-Germain du Plain.

Figure 3.5 Votive of a miniature cuirass from a 'founder's hoard' ('Brucherzhort') from the Brandgraben

Figure 3.6 Reconstruction of the four-wheeled-wagon with bronze fittings from Münchsmünster, southern Bavaria, from a grave context 13th c. B.C.

Figure 3.7 Standard equipment of prestigious drinking in the Urnfield Culture in central southern Europe: bucket, cup and strainer here shown from the Hart a.d. Alz elite burial in southern Bavaria, 12th c. B.C.

Figure 3.8 Bronze bucket of Hajdubörszermény type from Sâg, Romania, 10th c. B.C. height: 34.8 cm

Figure 4.1 Abraham Maslow's Hierarchy of Needs

Figure 4.2 Bronze Age textiles from Hallstatt

Figure 4.3 Franzhausen textile and grave context

Figure 4.4 Hallstatt Textile 288 with striped tablet woven border

Figure 4.5 Winklarn, Austria, Middle Bronze Age 1) Dress fittings and jewellery

2) Pattern of placement on the body

3) Reconstruction of a dress based on the figurine from Kličevac and the textile from Irgenhausen

Figure 4.6 Gold threads from Obuda in Hungary, 11th cent. BC

Figure 5.1 Bronze Age Helmet from Bernières d'Ailly Hoard (Normandy)

example from the Odescalchi collection, Rome

Figure 5.2 Detail of the archetypal 'Gallic' helmet, made from the original Lionel Royer (1852-1926), Vercingétorix jette ses armes aux pieds de Jules César, oil painting, 1899, Crozatier Museum, Le puy-en-Velay, France.

Figure 5.3 Henry Morin (1873-1961), Les Gaulois, advertisement on Post card for the Bulteaux Champagne, around 1900.

Figure 5.4 Bronze Age Helmet from La Seine (Musée d'archéologie nationale, number 'Paris 358' collection Napoléon III)

Figure 5.5 Axe from Thanet Earth, Thanet, Kent (England)

Figure 5.6 Sword from Jugnes

Figure 5.7 Axe just after casting

Figure 5.8 The finished axe.

Figure 5.9 The handle of the sword, just after foundry stage

Figure 5.10 The finished sword

Figure 5.11 Detail of the inscription ' Jean Guilaine/Christiane Guilaine ' on the blade

Figure 5.12 Identity and fabrication of one object

Figure 6.1. The Wietenberg area and its main directions of long distance trade and exchange (routes are approximated).

Figure 6.2. Comparison of decorative motifs from pottery and other, not war-related categories of object (metal ornaments and pieces of architecture): 1. Sighişoara-'Wietenberg', decorated hearth

2) Oarţa de Sus, vessel from the sanctuary

3) Geoagiu de

Figure 6.3. Comparison of decorative motifs 1−3) typical Wietenberg pottery

4−6) frying pans of Keros Syros Culture.

Figure 6.4. Geoagiu de Sus. Three plaster bird-like heads from a ritual pit a). decorated side

b). the plain side

Figure 6.5 Wietenberg pottery decoration in relation to the idea of movement. 1-2) Geoagiu de Sus, bird-like protoma broken off from a plaster screen

3) Ciceu-Corabia, fragment of a miniature clay 'wagon'

4). Derşida, bird protoma, stray find

5) Derşid

Figure 6.6 Comparison of decorative motifs from pottery and war related objects 1) Ţufalău, gold butted-axe

2) Oarţa de Sus, Pit 1, fragment from the writing related signs

3) Ciceu Corabia, fragment of a miniature clay 'wagon'

4) Oarţa de Sus, clay lid

Figure 6.7 Photograph of a Kelvin-Helmholtz cloud seen over Cluj-Napoca from Floreşti (Transylvania).

Flemming Kaul.

Figure 7.1. A razor from Sennels, Northwest Jutland, Denmark, with charming double horses related to a ship. Upper, the whole razor, below detail showing the double horses, Montelius period IV, 1100-900 BC.

Figure 7.2. Upper, a razor from Sevel, West Jutland, Denmark

lower, a razor from Vendsyssel, North Jutland, Denmark, both 1100-900 BC.

Figure 7.3. A razor, probably from Jutland, Denmark, 900-700 BC.

Figure 7.4. Reconstructional drawing of a razor from Knuthenborg, Lolland, Denmark, 900-700 BC.

Figure 7.5. Graphics of the ship motifs of the razor from Knuthenborg, Lolland, Denmark. Upper, the folded ship of the blade unfolded - the first ship - specific points in time are marked

lower, the ship consisting of the handle of the razor and keel lin

Figure 7.6. A razor from Veddinge, Northwest Zealand, Denmark, 900-700 BC. Upper: a view where the ship comes into focus

lower: a view where the snake shows itself in focus.

Figure 8.1 Woven textile of the Neolithic period made of lime bast with knotted decoration. Zürich-Mythenschloss (Switzerland).

Figure 8.2 Wiepenkathen, Kreis Stade (Germany), wool threads around the Neolithic flint dagger.

Figure 8.3 Tursko-Těšina (Czech Republic). Two bronze bracelets from grave No. 5. The left one shows well visible textile structure.

Figure 8.4 Detail of a mineralised textile fragment on bracelet No. H1-51 525. Both systems as well as four samples taken for SEM are marked out.

Figure 8.5 Impressions of woollen fibres in completely mineralised textile fragment from bracelet No. H1-51 525. A distinction between thin and thick fibres is clearly visible.

Figure 8.6 Lenk-Schnidejoch (Switzerland) Bronze Age textile found in the ice.

Figure 8.7 Wardböhmen, Kreis Celle (Germany), thread made of mainly very coarse fibres (around 100μ).

Notes:

Description based on print version record.

Includes bibliographical references.

ISBN:

9781784917555

1784917559