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1

Depozyt dwóch naszyjników brązowych z okresu halsztackiego z Cetynia, pow. Bytów

100%
Krzysiak A.
Pomorania Antiqua
|
2023
|
vol. Tom XXXII
83–90
EN
In 2021 two open bronze necklaces found in the Trzebielino Forest District within the administrative borders of Cetyń, Trzebielino commune. The jewellery objects were deposited in a pit, within a layer of loose, fine-grained sand. The place of discovery is the slope of a small valley in the area of the Bytowskie Lake District. Two sites are located nearby: settlement site No. 5 in Starkowo and a vast barrow burial ground (burial grounds) No. 19 in Cetyń. The deposit in question consisted of two well-preserved, massive bronze necklaces. These are undecorated specimens made of a rod with an octagonal cross-section, with almost touching ends, slightly different in size and weight. The diameters of the middle parts of the artefacts are slightly larger than the tapering ends. The closest analogy to the discussed one is the specimen from Tatów, Biesiekierz commune, found in an assemblage of eight polygonal and twisted necklaces, dated to the Ha D period. It is characterized by an octagonal, approximately circular cross-section and lack of decorations. All three analysed, unornamented specimens, unlike the others discovered in Tatów, show no signs of use. This fact supports the thesis that these may be unfinished jewellery items. It is difficult to clearly indicate the nature of the hoard. It can be assumed that it is related to the hoarding of metals. It could also be a deposit of a kind of commodity money. The so-called pure hoard of necklaces may also testify to the increased social and economic role of women in the Hallstatt period.
2
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Ozdoby stroju wykonane z paciorków w kulturze wielbarskiej

84%
Żyto K.
Acta Universitatis Lodziensis. Folia Archaeologica
|
2018
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issue 33
75-92
EN
The main purpose of the article is to present various forms of costume decoration in Wielbark culture. The analysis was based on well-known burials with an intact arrangement of monuments in the burial cavern. On this basis, decorations made of beads were highlighted. In addition to the necklaces that adorned the area of the neck and chest, vertical compositions are particularly noteworthy, in which the beads were discovered in a line from the level of the neck to the waist level. In addition, beads were used to trim robes in the form of applications. Another type are beads decorating belt and sachets or purses.
PL
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3

Kolia w kulturze wielbarskiej. Studia nad jednym elementem stroju kobiecego

84%
Żyto K.
Pomorania Antiqua
|
2018
|
vol. Tom XXVII
s. 47-70
EN
The article focuses on presenting the research potential of the strands of beads discovered in the graves of the Wielbark culture. In the literature, apart from M. Mączyńska and U. Lund Hansen, until this time no one has undertaken research on the necklace treated as one element. A characteristic burial rite containing both inhumation and cremation of the Wielbark community allows for registration in the well-preserved and untouched graves of the original arrangement of the necklace. The analysis of the material was carried out chronologically on the Lubowidz and Cecele phases. Based on well-recognized necklaces, several leading types have been identified. The first of them included necklaces composed of various types of beads, which do not form a coherent whole, e.g. in the form of segments or location of tchem to the raw material. The second type is represented by symmetrical necklaces. These include configurations composed of one type of beads or structures in which the right part of the necklace is similar to the left part. To gain this effect, it was necessary to choose beads of the same type and place them symmetrically in relation to each other. The third type of necklace represents the strands in which the central part (middle) has been filled with the largest bead or pendant made of metal. Also, based on materials from the Wielbark culture burial grounds, attention has been paid to configurations in which beads have found a different application. Among these systems, vertical compositions are particularly noteworthy, in which the beads were found in a line from the level of the neck to the waist level. This location of artefacts evidently indicates other use of beads as a consequence of another type of decoration. The division of the necklace presented in this work is currently still an open division. However, already at this level of work on the stripes of beads, we can conclude that the necklines indicate the diversity of the composition of the necklace and the way how they were worn. Further studies on the necklaces in the Wielbark culture will be focused on a comparison of the period sections of the bead sets in terms of age and sex of the deceased.
PL
Artykuł koncentruje się na przedstawieniu potencjału badawczego pasm paciorków odkrywanych w grobach kultury wielbarskiej. W literaturze przedmiotu oprócz M. Mączyńskiej i U. Lund Hansen jeszcze nikt nie podjął badań nad koliami traktowanych jako jeden element. Charakterystyczny birytualny obrządek pogrzebowy społeczności wielbarskiej pozwala na rejestrowanie w dobrze zachowanych i nienaruszonych grobach pierwotnego układu kolii. Analiza materiału została przeprowadzona pod kątem chronologicznym na fazy lubowidzką i cecelską. Na podstawie dobrze rozpoznanych kolii udało się wyróżnić kilka wiodących typów. Do pierwszego z nich zostały zaliczone kolie złożone z różnych typów paciorków, które nie tworzą spójnej całości np. w postaci segmentów lub rozmieszczenia ich względem surowca. Drugi typ reprezentują kolie symetryczne. Należą do nich kompozycje złożone z jednego typu paciorków lub układy, w których prawa część kolii jest podobna do części lewej. Aby uzyskać taki efekt należało dobierać paciorki tego samego typu i umieszczać je symetrycznie względem siebie. Trzeci rodzaj kolii reprezentują pasma w których centralna część (środkowa) została wypełniona największym paciorkiem lub wisiorkiem wykonanym z metalu. Dodatkowo na podstawie materiałów pochodzących z cmentarzysk kultury wielbarskiej została zwrócona uwaga na zespoły, w których paciorki znalazły inne zastosowanie. Wśród tych układów na szczególną uwagę zasługują kompozycje pionowe, w których paciorki zostały odkryte w jednej linii od poziomu szyi do poziomu pasa. Takie położenie zabytków ewidentnie wskazuje na inne zastosowanie paciorków w następstwie na inny rodzaj ozdoby. Przedstawiony w niniejszej pracy podział kolii jest w chwili obecnej podziałem jeszcze otwartym. Jednakże już na tym poziomie prac nad pasmami paciorków możemy stwierdzić, że kolie wskazują na różnorodność składu kolii oraz sposobu ich noszenia. Dalsze badania na koliami w kulturze wielbarskiej będą skupione na porównaniu w poszczególnych odcinkach czasowych zestawów paciorków pod względem wieku i płci osób pochowanych.
4
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Nazewnictwo i symbolika ozdób starogermańskich

67%
Kowalski A. P.
Acta Universitatis Lodziensis. Folia Germanica
|
2017
|
issue 13
149-166
EN
The paper is devoted to possible concepts that ancient Germans held about ornaments. Cultural categories related to wealth, prestige, gift, sacrifice and deposit are carefully discussed. The main accent is on the etymological analysis of Proto-Germanic names for brooch or fibula, ring, necklace, belt, buckle. These are items found by archaeologists in the areas of Barbaricum dating from the period since the Bronze Age. The changes that led to the development of the Wielbark culture iden­tified with the Goths were very important. The population of this culture did not place weapons and tools in graves, but only ornaments. Such a norm may have resulted from the mythical convictions confirmed in the Poetic Edda. The Old Norse goddess called Gullveig (literally ‘gold strength’) was the reason for the war of the divine generations of Aesir and Vanir.The Aesir were rulers and warriors, whereas the Vanir represented farmers and producers.Aesir used weapons, Vanir tools.Gullveig, burned three times at the stake and three times reborn, seems to be a symbol of ornaments. The Goths used only female burial equipment, putting a taboo on military accessories typical of Aesir.In addition, some Old Nordic poems associate ornaments with a mythical snake.This aspect is confirmed by archeological and linguistic data. The mythical technique of making jewellery is also important. The Old Nordic divine blacksmith called Völundr folds it from the bodies of the dead princes. In this way, he refers to the cosmogonic myth of the sacrifice of Ymir. The techniques of making ornaments, based on the reintegration of elements, resemble folk methods of treatment and are related to the Germanic idea of beauty as a complex whole.
PL
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