An Examination of the Creations of Mint Masters and Metal Smiths, and an
Analysis of Stylistic Development During the Phase between La Tčne and
Provincial Roman Szerző: Garrett Olmsted Archaeolingua, 2001 It should become
apparent in reading this work that the use of silver as a medium for artwork
among metalworkers in the barbaricum regions of Europe during the La Tčne period
was not confined to eastern Europe, where its importance has been widely
recognized. Silver was an important medium for La Tčne artwork in western Europe
as well. During the Middle La Tčne period Celtiberian artisans excelled in the
production of decorated silver items. During the Late La Tčne period decorated
silver items were made in Gaul as well. Thus, a tangible outcome of this
research is the establishment of the Gaulish origins of the Gundestrup cauldron,
the Sark-type phalerae, the Hildesheim and Neerharen vases, and the cups from
Lyon, Thorey, and Alesia. All of these items were made of silver, and all date
to the first century BC. Also Gaulish and of the same first-century-BC
metalworking schools were the Marlborough vat, the Aylesford bucket, the Rynkeby
cauldron, all of which either were made of or were decorated with bronze. This
work establishes also that the decorative motifs on most examples of European
metalwork created during the first century BC, from both the East and the West,
apart from those made in Greece and Italy, were driven by the numismatic art of
each region?s respective coinage. During the first century BC in the barbaricum
regions of Europe there was an overlap in the repertory between the art in the
small on the coins and the art in the large on the metalwork. This overlap
validates the utility of using the coinage to determine a fuller view of the
first-century-BC artistic lexicon. Because there are hundreds of type examples
of the various tribal issues of coins, the basic repertory of the
first-century-BC art style can be seen to have been preserved through this
numismatic medium. Thus the coinage provides a much more complete inventory of
the first-century-BC artistic motif repertory than that presented by the few
surviving items of large-scale metalwork. Indeed in many cases the coinage
provides an actual stage-by-stage outline of the evolutionary development of the
motif repertory. A kötet adatai: Nyelv: angol Kötés: keménytábla Megjelenés éve:
2001 Terjedelem: 340 oldal Tartalomjegyzék: Introduction The Artisans and the
Evolutionary Trends behind Late Celtic Art and the Use of Silver as Medium The
Problem of the Significance of the Terms Celtic and La Tene, particularly in
Eastern Europe The Methodological Postulates behind the Stylistic and
Evolutionary Analysis of Late Celtic Art Rationale behind a Critique of Previous
Research on the Origins of the Gundestrup Cauldron The Adriatic Style and
Eastern Silver Work: 600-300 BC Early Celtic Silver Work and the Use of
Fantastic Animals in Early La Tene Art Silver as a Medium for Coinage and
Metalwork Dates and Attributions of Gaulish Coins First-Century-BC Gaulish
silver Masks, Cups, and Vases Similarities between the Gundestrup Cauldron, the
Lyon Cup, and the Hildesheim Vase The First Century BD Western Silver Phalerae
and the Silver Torque from Trichtingen A Stylistic Analysis of the western
Phalerae The Gundestrup Cauldron The Bouray God, Gaulish Flat Metalwork in
Bronze, and ?Calendar Vases? The Sophienborg Fragments, the Rynkeby Couldron,
and the Marlborough and Aylesford Vats The Sark Dolphin Mount, the Borremose
Fortified Site, and the Origins of the Gundestrup Cauldron The Orange Arch and
the Gundestrup Cauldron The Tendril Work and Geometric Decoration on Late
Gaulish Flat Metalwork High-Relief Heads on Late Celto-Gaulish Flat Metalwork
Profile Heads on First-Century-BC Gaulish Coins and Flat Metalwork Standing and
Riding Men The Cross-Legged God of Plate A The Seated Female of Plate f
Counter-facing Animals Horned serpents Doplhins and Fish Birds Griffins Lions
Dogs and Wolves Boars Bulls Elephant Bigas and Quadrigas Asian and African
Elephants Stags Horses, Pegasi, and Seahorses Typological Trends in Late Gaulish
Art Concluding Remarks on the Chronological Development of Late Celtic Art
Appendix A Critique of the North-Germanic School of Origin of the Gundestrup
Cauldron A Critique of the Istro-Pontic, Lower-Danubian, or Eastern School of
Origin of the Gundestrup Cauldron Bibliograhpy Catalogue of Plates
(Acknowledgements) Plates