By D. W. Harding
Extra huge ranging, either geographically and chronologically, than any prior examine, this well-illustrated booklet bargains a brand new definition of Celtic artwork. Tempering the much-adopted art-historical process, D.W. Harding argues for a broader definition of Celtic artwork and perspectives it inside of a much broader archaeological context. He re-asserts old Celtic identification after a decade of deconstruction in English-language archaeology. Harding argues that there have been groups in Iron Age Europe that have been pointed out traditionally as Celts, looked themselves as Celtic, or who spoke Celtic languages, and that the artwork of those groups might quite be considered as Celtic paintings. This study will be necessary for these humans eager to take a clean and cutting edge point of view on Celtic artwork.
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Additional info for Archaeology of Celtic Art
Crucibles and fragments of moulds are found, but again it is not always taphonomically clear that they represent in situ activity. Excavated evidence of metal-working was recovered from the late Hallstatt occupation at the Heuneburg in south-west Germany, where a ‘workshop quarter’ was identified on the basis of smelting furnaces and related structures. Graphic testimony of metal-working on site was provided by the casting mould for a ‘Silenus mask’ for the handle attachment of an Etruscan bronze flagon.
The occasional occurrence in Urnfield graves of the parts of such vehicles, like the bronze wheels, suggests a widespread practice that has frequently failed to survive the funerary pyre. Yet whether these vehicles in miniature, and the technical construction, for example, of their four-spoked wheels, reflected fullsized equivalents in regular use in everyday life remains a vexed issue. Evidently by the later Bronze Age, horse-drawn vehicles, notionally depicted at Trundholm, were replacing the older practice of ox-draught, and by the Hallstatt Iron Age four-wheeled carts or funerary hearses had reached a considerable level of technological sophistication.
Adapted from Egg (1996) based on original in Ur- und Frühgeschichtliche Sammlung am Landesmuseum Joanneum, Graz. tomb-robbery of the late Hallstatt period reflects a change in ruling dynasties, the seizure of power by a secondary elite and the wilful destruction of the symbol of legitimacy of the overthrown regime. Tomb-robbing, therefore, may not have been intent upon the acquisition of illicit wealth so much as its public destruction, together with all it stood for. 4 Hallstatt period animal imagery in bronze and pottery.
Archaeology of Celtic Art by D. W. Harding