Bibliography
Kruta, Venceslas, “L’iconographie des poteries peintes de Numance et le répertoire de l’art celtique laténien”, Études Celtiques 44 (2018): 7–33.
- journal article
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Contributors
Article
“L’iconographie des poteries peintes de Numance et le répertoire de l’art celtique laténien”
Periodical
Études Celtiques 44 (2018)
Études Celtiques 44 (2018).
Persée – Études Celtiques, vol. 44, 2018: <link>
Volume
44
Pages
7–33
BibTeX
Description
Abstract (cited)
[FR] Le répertoire des poteries peintes de Numance est un ensemble riche et cohérent, représentatif de l’art des Celtes hispaniques. L’examen des thèmes les plus fréquents – esse, triscèle, svastika, figures animales – révèle un parallélisme thématique significatif avec l’art celtique laténien des régions au nord des Pyrénées. L’analyse détaillée du «vase des taureaux » aboutit à la conclusion qu’il s’agit d’une représentation imagée de l’année celtique, par une séquence placée sous le signe de la constellation du Taureau, diurne pour la saison estivale, nocturne pour la saison hivernale. C’est la même conception de l’année qu’illustre la cruche cérémonielle de Brno. Il s’agit donc de deux manières différentes d’exprimer des idées aux racines communes très anciennes. L’analyse des images, qui ne se limite pas uniquement à leurs aspects stylistiques, mais tente de cerner également leur signification, permet ainsi de mieux comprendre la complexité du processus cumulatif dans la formation du monde spirituel des anciens Celtes.
[EN] The iconography of the painted potteries from Numantia and the themes of the La Tène Celtic art.The iconography of the painted potteries from Numantia constitutes a rich and coherent collection, representative of the art of the Hispanic Celts. The survey of the most frequent subjects – S-pattern, triskeles, svastika, pictures of animals – reveals significant similarities with the La Tène Celtic art at north of the Pyrenees. The detailed analysis of the “ bulls vase” ends to the conclusion that it is a symbolic representation of the Celtic year, in a sequence put under the sign of the constellation of the Bull, diurnal for the summer season, nocturnal for the winter season. It is the same conception of the year illustrated on the Brno ceremonial flagon. These two different ways of expressing ideas seem to be based on very ancient common roots. An analysis of images that is not limited to stylistic features, but also tries to outline their significance, allows a better understanding of the complexity of the cumulative process in the formation of the ancient Celts’ spiritual world.
[EN] The iconography of the painted potteries from Numantia and the themes of the La Tène Celtic art.The iconography of the painted potteries from Numantia constitutes a rich and coherent collection, representative of the art of the Hispanic Celts. The survey of the most frequent subjects – S-pattern, triskeles, svastika, pictures of animals – reveals significant similarities with the La Tène Celtic art at north of the Pyrenees. The detailed analysis of the “ bulls vase” ends to the conclusion that it is a symbolic representation of the Celtic year, in a sequence put under the sign of the constellation of the Bull, diurnal for the summer season, nocturnal for the winter season. It is the same conception of the year illustrated on the Brno ceremonial flagon. These two different ways of expressing ideas seem to be based on very ancient common roots. An analysis of images that is not limited to stylistic features, but also tries to outline their significance, allows a better understanding of the complexity of the cumulative process in the formation of the ancient Celts’ spiritual world.
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Contributors
Dennis Groenewegen, Pierre Faure
Page created
April 2020
