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1
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Muszle – zawieszki – amulety we wczesnym średniowieczu z terenu Polski na przykładzie znalezisk z Kruszwicy

100%
Kurzawska A., Głód A.
Slavia Antiqua: rocznik poświęcony starożytnościom słowiańskim
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2023
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issue 64
221-241
EN
In this article, the author takes a closer look at the finds of sea shell ornaments in the early Middle Ages, based on artefacts discovered at two sites (Nos. 2 and 4) in Kruszwica. The four pendants in question come from settlement levels dating from the 11th to the 12th centuries. A malacological analysis suggests that the ornaments reached Kruszwica from the Mediterranean area (Acanthocardia tuberculata and Bolinus brandaris), and probably the Red Sea (Monetaria moneta), and from southern Poland (Turritella sp). These objects had been in use for a long time, as evidenced by the microtraces and damage visible on their surface. During the early medieval period, among the various species of shells that were ‘imports’, money cowrie shell ornaments with the most ‘exotic’ origins were the most common in Europe. It is highly probable that during this period of time, they were used in the exchange/trade and their value as a female symbol object and an amulet. Most likely, the shell pendants reached Kruszwica via trade routes that have been previously documented, alongside other artifacts. These ornaments provide additional evidence of long-distance trade.
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Skarb z epoki brązu z Bolesławca, pow. wieruszowski

86%
Marchelak I., Ziąbka L.
Folia Praehistorica Posnaniensia
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2016
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vol. 21
235-311
PL
The paper presents a hoard of bronze objects from Bolesławiec, Wieruszów District, deposited within the Upper Silesian-Małopolska zone of the Lusatian urnfields. The hoard comprises ornaments and devices used to fasten clothing that are indicative of both an interregional context and local production centres. The hoard dates to Phase IV/Phase V of the Bronze Age, or perhaps a somewhat later period, and fits with the picture of complex and intense cultural processes taking place in the Upper Silesian-Małopolska zone at the time.
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Kolia w kulturze wielbarskiej. Studia nad jednym elementem stroju kobiecego

72%
Żyto K.
Pomorania Antiqua
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2018
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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

ФОРМУВАННЯ ПРОФЕСІЙНОЇ МАЙСТЕРНОСТІ МАЙБУТНІХ УЧИТЕЛІВ ОБРАЗОТВОРЧОГО МИСТЕЦТВА ЗАСОБАМИ ТРАДИЦІЙНОЇ СИМВОЛІКИ ОРНАМЕНТУ

72%
Шокірова З.
Педагогічні науки: теорія, історія, інноваційні технології
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2016
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issue 1(55)
172-180
EN
The article raised the problem of formation of professional skills of fine arts teachers of in the process of making an ornament. The ornament is seen as something material – the artistic culture of the society in its relations with the world of content with the beliefs and traditions of humanity. This approach allows us to understand the spiritual meaning of sustainability of the universal ornamental motifs that run through all cultures from ancient times to the present, keeping the value of a holistic sense of the world. Students are introduced to the main theoretical propositions concerning the nature, specificity, history and structure of the ornament. The perception of color harmony, balance of form and color, rhythm that students are in the process of studying ornament, can creatively realize themselves in different kinds of creative tasks, increase the level of artistic and creative abilities of future teachers. During the detailed study of the ornament nature the author focuses on the phenomenon of heredity of some ornamental motifs; analyzes dominant motifs that are most often found among different people and different kinds of art of our country. For Ukrainian art is peculiar such kind of arsenal of motifs and images, which were the basis of national ornament. For many centuries the ornamentation was a wide sphere of artistic creation, the main method of knowledge of natural rhythms and cycle’s means of conveying information and work cultures. The focus is on traditional ornamentation and symbolism. Students learn the semantics of the most important archaic characters, among which the most important are geometrical symbols (point, circle, triangle and square). To create their own projects, students are introduced to different kinds of ornaments in all kinds of arts and crafts, with features of regional ornaments. In performing creative tasks students successfully combine folk art traditions with modern technology.
5
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Wczesnośredniowieczna biżuteria zachodniosłowiańska

72%
Kóćka-Krenz H.
Studia Lednickie
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2014
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vol. 13
27-38
EN
Ornaments worn in the Middle Ages by inhabitants of the West Slavonic territory were basically not utilitarian in their nature. They Brst of all served to satisfy aesthetic needs. Usually, they were made from non-ferrous metals, mostly from silver, but also from bronze, bronze plated with silver, or even from tin and lead. Sporadically, such ornaments were made from gold, sometimes with additions of decorative stones or organic raw materials. Finds from Ostrów Tumski and Ostrów Lednicki point out that within the main strongholds there were workshops manufacturing artefacts of artistic craftsmanship upon the order of the rulers. Ornaments which survived in archaeological materials allow for saying that their manufacturers made use of various methods, from very simple ones, consisting in cutting shapes from metal sheets, to those requiring special skills, such as Bligree and granulation techniques. Manufacturers developed some of these techniques on the basis of their own manufacturing traditions, while others were developed as a result of the adaptation of the skills of West European craftsmen in the 10GH and 11GH c. This was expressed in a wide use of high quality ornamental techniques, which were perhaps learned from the centers of European artistic craftsmanship of those days. The forms of ornaments and the way of their deposition in burials, demonstrate that particular stress was put on the decoration of the women’s heads and necks, with less attention to the hands. On the other hand, men only sporadically wore rings and necklaces or chains, which underlined their social status. A particular variety of forms can be seen in the ornaments of women’s temples. Such ornaments were attached to headgear—maidens’ headbands or veils in the case of married women. Some ornaments are typical for the entire West Slavonic territory and they are remarkable for their long time of use, with special reference to temple rings. Others were manufactured for a relatively short period of time and their use was limited to certain areas. Jewellery worn in the territory of Central-Eastern Europe fulfilled numerous aesthetic, social and symbolic functions. It completed the dress of that time; it not only decorated clothing but also requested its local nature. Furthermore, it underlined the pertinence to a given social group and one’s position in it. It also demonstrated one’s age and personal attitudes concerning the sphere of beliefs. As to its artistic level, this jewellery was only slightly inferior to the ornaments manufactured in the main cultural centres of Early Medieval Europe. This especially concerns jewellery made and worn in the 10GH and 11GH c.
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Sztuka „akompaniamentu” klawesynowego w XVIII-wiecznej Francji Zasady realizacji basse continuë według anonimowego rękopisu Traité d’accompagnement du clavecin et abrégé de composition (c. 1700)

51%
Aleksandrowicz M.
Roczniki Teologiczne
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2018
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vol. 65
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issue 13: Muzykologia
183-101
EN
This article concerns the performance practice of harpsichord-playing in 18th century France. The starting-point for reflection is anonymous manuscript ‘Traité d’accompagnement du clavecin et abrégé de composition’ (ca.1700) written in the times when the French harpsichordists and organists begin to open up to the style of keyboard playing developed in 17th century Italy. In this manuscript we can find the explanation of the system of abbreviation utilized to mark chordal relationships and the remarks on harpsichord ‘accompaniment’, ie the rules of playing a multi-voice harpsichord part based on the marks written above the bass line (the so-called ‘basse continuë’).
PL
Artykuł przedstawia treść anonimowego rękopisu Traité d’accompagnement du clavecin et abrégé de composition z XVII/XVIII w. Spisano go w czasach, w których francuscy klawesyniści i organiści zaczęli się otwierać na stylistykę gry wypracowaną w XVII-wiecznej Italii. W rękopisie odnaleźć można szereg uwag dotyczących zasad akompaniamentu na instrumentach klawiszowych, czyli realizacji wielogłosowej partii klawesynowej lub organowej w oparciu o umieszczone nad linią basu cyfry (tzw. basse continuë).
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Wczesnośredniowieczny srebrny skarb z Tarnowa (Łekna). Informacje na temat jego odkrywania

44%
Wyrwa A. M.
Studia Lednickie
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2014
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vol. 13
95-111
EN
The silver hoard from Site Ł5 in Łekno, the Wągrowiec Commune, which was discovered in 2007 and which was subsequently examined up to 2014, is a scattered one. As a consequence of ploughing and denudation, it was dragged over a quite vast area (see Fig. 5). It constitutes Part III of a hoard which was discovered here in 1861 by Wojciech Jankowiak and Antoni Łukaszewicz. Based on our findings, it can be said beyond doubt that it was found in the field of A. Łukaszewicz (Figs. 2, 3, and 4). Its Part II was gathered as a result of the activities of “treasure hunters” in 2004 [Bogucki 2006b]. This hoard (Parts I–III), as it can be said, based on hitherto preliminary findings (examinations are still in process), was deposited in a “trade settlement” situated to the west of the suburbium and the stronghold at Sites Ł3 and Ł4 in Tarnowo Pałuckie—that is, Medieval Łekno (see Figs. 1 and 2) in the late 10th c.—or in the first five years of the 11th c. at the latest. It occurred in the layer of humus and in the upper zone of Cultural Layer I (Trenches I, II, and III—cf. Fig. 5). It is a scattered-type hack-silver hoard. In the years 2007–2014, in the course of surveys and excavations, more than 630 finds related to the discussed hoard were discovered. Together with its 19th c. part (Part I) and Part II from 2004, it contains more than 841 finds. The contents of Part III of the hoard, discovered in 2007–2014, include: whole and fragmented coins, fragments of silver and cast lead/silvered jewellery, silver clumps, and wires. Concerning the coins, there are: Arabian dirhams (hacked) from the Abbāsid, Sāmānid and possibly Buvaihid?, Hamdānid?, and Ziyārid? dynasties (dated to between c. 815 and c. 976, according to the analysis by D. Malarczyk); silver coins (whole and fragmented)— according to a preliminary analysis by Z. Bartkowiak, they are West European: German denars of Otto and Adelheid, Heinrich, Otto, denars from the Cologne mint (?), Bavarian denars; Danish half-bracteates (Hedeby); denars of the Bohemian type, including a hybrid of a Bohemian denar, cross denars of Type I; Byzantine coins of Constantine VII and Roman II (945–959). A hitherto unknown hybrid of the Princes Polonie denar of Bolesław the Brave is also related to this assemblage [Bogucki 2006b, p. 181–182 ff.) The silver hoard from Tarnowo Pałuckie (Łekno) is a very significant find for defining settlement changes in the centre of the Łekno settlement complex, its settlement, economic-trade and architectural-construction structures, as well as for broader cultural phenomena within Greater Poland and its relations to the European cultural circle. All the finds from Part III of the hoard (coins, jewellery, silver clumps and wires, other finds) underwent detailed numismatic and art history studies, as well as specialist examinations—detailed non-invasive metallographic examinations and conservation ( J. Strobin and M. Sawczak). The results of these examinations and the hoard itself (the catalogue with specialist examinations) will be published in a separate monograph devoted to this discovery after all the examinations are completed. Apart from the planned monograph, details of a 9th c. sword scabbard chape from this hoard have already been published [Wyrwa, Janiwski 2014].
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Późnośredniowieczne skarby monet z dolnego Nadodrza i dolnego Połabia z zawartością biżuterii i ozdób

30%
Szczurek T.
Studia Lednickie
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2014
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vol. 13
49-76
EN
In this paper the author offers an overview of hoards containing ornamental items, that is, jewellery, dress ornaments as well as ornaments used to decorate other artefacts. Je mapping of finds, starting with those from the second half of the 12th c., does not display any concentration in the discussed territory. However, there is quite a large concentration of deposits with ornaments in the southern borders, or actually beyond them—in Anhalt, Saxony-Wittenberg and in Thuringia (Fig. 1). When the finds are arranged chronologically, it turns out that deposits which were hidden in the period from c. 1360 to c. 1500 are the most numerous. Earlier hoards, however, are much richer in decorative artefacts. In later deposits such artefacts are either single specimens or their number is limited to but a few finds. There are occasional hoards dated back to the Early Middle Ages (to c. 1070) containing ornaments only or ornaments and non-monetary silver (in the form of clumps and bars). However, from the second half of the 12KP c. onwards there are no finds which contain ornamental items only. Although there are ornaments in deposits with bars (Gusskönige), they are accompanied by coins. An overwhelming majority of the ornamental items was made from silver. From the 13th c. onwards, gilding appears on the silver artefacts. Je technique of gilding is commonly used in silver jewellery artefacts from the 14th and 15th c. A silver ring from the hoard from Bardowick is ornamented in the niello technique. Gold artefacts occur very rarely, and it seems that they appear as single finds only. Bronze artefacts are truly unique. Specimens from the 14th and 15th c. are ornamented with semi-precious stones, a glass mass and enamel, while pearls are found sporadically. Amber does not occur in the discussed territory; on the other hand, it is known from small artefacts in other parts of Europe (e.g., from the Austrian hoard in Fuchsenhof, c. 1275–1278). Je assortment of ornamental artefacts for decoration of the body (jewellery) and of dress is quite similar to that from the present time. It encompasses rings (often with eyelets), annuli and signet rings, brooches used as clasps, buckles and the fittings of belts, knobs used as buttons, but also as dress ornaments, fittings (thin metal sheets with openings, used to ornament dresses, purses and caskets) in the shape of round and heraldic shields, or heraldic eagles and lions. In some hoards there are large numbers of buckles (some of these are similar to brooches, somewhat resembling fibulae). Crosses-pendants, earrings and hair pins are not common. Items of cutlery are rather sporadically found (silver spoons and silver fittings for knife handles). The largest hoards are known from the territory of the Wendic Hansa and they were discovered in urban areas. "ere is no doubt that these were gathered by members of the patriciate. On the other hand, rich hoards with gold artefacts are known from the Rhineland, but also from Erfurt in Thuringia and from Środa Śląska.
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