Bibliography
Charpy, Jean-Jacques, “Le bélier, l’oiseau rapace et leurs rapports avec la divinité principale”, Études Celtiques 38 (2012): 61–76.
- journal article
Citation details
Contributors
Article
“Le bélier, l’oiseau rapace et leurs rapports avec la divinité principale”
Periodical
Études Celtiques 38 (2012)
Études Celtiques 38 (2012).
Persée – Études Celtiques, vol. 38, 2012: <link>
Volume
38
Pages
61–76
BibTeX
Description
Abstract (cited)
[FR] La découverte récente de deux objets, riches par leur iconographie, constitue un bon vecteur pour revisiter la représentation de la Divinité majeure des Celtes. Ces deux objets, trouvés pour l’un dans l’Aisne et l’autre dans le Loiret, témoignent d’une origine centre-européenne et appartiennent à la phase artistique dite du style plastique. Le premier a été trouvé à Batilly (Loiret) dans l’extrémité d’un fossé d’un habitat laténien (ferme indigène ?) daté de La Tène finale, IIe-Ier siècles. L’objet est en luimême tout à fait exceptionnel par le réalisme de la représentation et la nature du sujet représenté. Cette pièce de bronze appartenait à un vaisseau vinaire et en constituait une applique. Il semble, au premier regard, figurer un rapace nocturne. Mais la réalité est plus complexe, puisque, nous le démontrerons, il mêle rapace nocturne et diurne. Dans le cas de cet objet, la relation avec la Divinité majeure n’est pas avérée mais suggérée par la nature du support sur laquelle elle était appliquée et aussi par les comparaisons que l’on peut lui trouver. Le second objet provient du milieu funéraire. Il a été mis au jour à Orainville (Aisne) dans une sépulture féminine dont le mobilier, particulièrement le torque, traduit une origine ethnographique de la région du Rhin moyen. Ici, c’est la fibule qui nous intéresse. Cette pièce de l’équipement personnel de la défunte, liée à son costume, relève du bricolage. C’est sur la base d’une fibule de type Münsingen qu’a été fixée une résille métallique préalablement aménagée pour son support. Le décor, amputé d’un motif, représente l’image de la Divinité principale intimement mêlée à celle du bélier. Au-delà de cette relation directe et évidente qui allie pour la première fois les deux images dans une symbiose parfaite, on peut ajouter celle d’un bovidé par des convergences de forme et de symbole. La comparaison avec une pièce comme celle découverte à Roissy vient renforcer les apports stylistiques centre-européens.
[EN] The ram, the bird of prey and their relationships with the major Deity.
The recent discovery of two objects, with a rich iconography, permits us to revisit the representation of the major Deity of the Celts. These two items, found one in the Aisne and the other in the Loiret, reflect a Central European origin and belong to the artistic phase known as the plastic style. The first object was found in Batilly (Loiret) at the end of a ditch of a Latenian settlement (a local farm ?) dating from the final La Tène, II-I centuries. This object is quite exceptional by the realism of the representation and the nature of the subject represented. This bronze piece belonged to a wine vessel for which it was an appliqued ornament. At first glance, it seems to be a nocturnal bird of prey. But the reality is more complex as we will demonstrate : it is at the same time a nocturnal and diurnal bird of prey. In this case, the relationship with the Deity is not proved but rather suggested not only by the nature of the medium on which it was applied but also by the comparisons that we can make. The second object comes from the funerary sphere. It was found at Orainville (Aisne) in a female grave the furniture of which, especially the torque, would ethnographically come from the Middle Rhine region. Here it’s the fibula which particularly interests us. This piece of personal equipment of the deceased is related to her costume and comes close to a makeshift work. A metallic net previously arranged for its support has been applied on the basis of a Münsingen-fibula. The decoration, from which one pattern has been cut off, represents the main Deity intimately mingled with a ram. Beyond this direct and obvious relationship which combines for the first time the two images in a perfect symbiosis, one may add the one of a bovid by convergences of form and symbol. The comparison with such an object as the one found in Roissy reinforces the Central European stylistic contributions.
[EN] The ram, the bird of prey and their relationships with the major Deity.
The recent discovery of two objects, with a rich iconography, permits us to revisit the representation of the major Deity of the Celts. These two items, found one in the Aisne and the other in the Loiret, reflect a Central European origin and belong to the artistic phase known as the plastic style. The first object was found in Batilly (Loiret) at the end of a ditch of a Latenian settlement (a local farm ?) dating from the final La Tène, II-I centuries. This object is quite exceptional by the realism of the representation and the nature of the subject represented. This bronze piece belonged to a wine vessel for which it was an appliqued ornament. At first glance, it seems to be a nocturnal bird of prey. But the reality is more complex as we will demonstrate : it is at the same time a nocturnal and diurnal bird of prey. In this case, the relationship with the Deity is not proved but rather suggested not only by the nature of the medium on which it was applied but also by the comparisons that we can make. The second object comes from the funerary sphere. It was found at Orainville (Aisne) in a female grave the furniture of which, especially the torque, would ethnographically come from the Middle Rhine region. Here it’s the fibula which particularly interests us. This piece of personal equipment of the deceased is related to her costume and comes close to a makeshift work. A metallic net previously arranged for its support has been applied on the basis of a Münsingen-fibula. The decoration, from which one pattern has been cut off, represents the main Deity intimately mingled with a ram. Beyond this direct and obvious relationship which combines for the first time the two images in a perfect symbiosis, one may add the one of a bovid by convergences of form and symbol. The comparison with such an object as the one found in Roissy reinforces the Central European stylistic contributions.
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Pierre Faure
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April 2020
