Savaria - A Vas Megyei Múzeumok értesítője 27. (2002) (Szombathely, 2003)

Régészet - Ilon Gábor. Késő bronzkori kincslelet Szombathelyről. Napbárka szimbólumok a Kárpát-medence urnamezős kultúra lemeztárgyain

SAVARIA A VAS MEGYEI MÚZEUMOK ÉRTESÍTŐJE 27(2002) SZOMBATHELY, 2003 pp. 119-147 KÉSŐ BRONZKORI KINCSLELET SZOMBATHELYRŐL NAPBÁRKA SZIMBÓLUMOK A KÁRPÁT-MEDENCEI URNAMEZŐS KULTÚRA LEMEZTARGYAIN* ILON GÁBOR Savaria Múzeum, 11-9700 Szombathely, Kisfaludy S. u. 9., Hungary E-mail: savmuz@axelero.hu LATE BRONZE AGE ARTIFACTS FROM SZOMBATHELY The so-called "Sun-bark" symbols on the plate artifacts of the Carpathian-basin's Urn-field Culture This study focuses on a cluster of artifacts (hereinafter referred as "treasure "), which was probably recovered between 1989 and '91 - yet purchased by sale for the Savaria Museum's Collection of Prehistoric Artifacts in 1997 only -, during the excavation of a crypt in Szombathely (County Vas - Picture No. 1) in a cemetary at Jaki Street (Picture No. 2). Unfortunately, no proper opportunity has arisen to describe the treasure totalling a weight of 35.5 kgs in a complete and explicit manner, thus a few artifacts will only be presented. The treasure has been classified to be related to the artifact materials of the so-called Urn-field Culture and to its earlier period as by Müller-Karpe (1954 127) Ha Bl (-2?) to the Hajdúböszörmény (-Romand?) horizon ofMozsolics BVIa (-b?), Kőszegi (1988) dated to the middle interval of the 4th phase, which is in a corresponding age that of the Slovenian Urn field Culture's phase no. HI. (TURK 1996 115-116). In absolute chronological terms, it is dated to the end of the 10th century - the beginning of 9th (?) century and envisioned to be the manufactured product of the Velem metal elaboration workshop center. Second part of the study aims at a restored special jewelry and symbol of power at the same time, found infragmants (recovered in 4 pes. actually), the diadem of the treasure (Board No. 1., Picture No. 6), on which punched and stylized sun-bark motive is depicted. For the sake of the demand of completeness, attempts have been made to collect all parallel aspects in concern to the Carpathian-basin (Picture No. 4) and as a look-out, the continent of Europe (Picture No. 5), which contain such depiction. As a summary, it has earlier been concluded that the age of the origin of the bird-symbolism roots back to the term of Rixheim/Rigsee/Baierdorf/Caka/Tirol 1/Canegrate/Montelius III; in other words, the period of Early Urn-field Culture (JOCKENHÖVEL 1974 85). In my point of view, these roots stretch backwards to the Middle Bronze Age in the Carpathian-basin. The sun-bark motive and the bird-symbolism played a substantial role in the Italian and Central-European Urn-field Cultures as JOCKENIIÖVEL (1974 87-88) raised this pent. Therefore, the fact appears to be somewhat certain, that the man of the Bronze Age in the Carpathianbasin must have adored the beliefs of a polithetist religion form, such as the folks of the so-called and welldeveloped Eastern, Mediterranean and European civilizations with the only difference, i.e. the names of the gods given by these inhabitants are still unknown. The most outstanding character of the Pantheon in many cases may have been depicted as the God of Sun substituted by the "Sun-bark" motive, and respected witin the the full range of the European Urn-field Culture (HANSEL1997 21). Therefore, the diadem of Szombathely is considered to be a depiction of the God of Sun and the symbol of power generated to the Heavenly Kingdom at the same time. A person having less important rank may have possessed it once (e.g. : as the golden badge of Velem did), or it may have displayed an occupation in society at ordinary occassions. Tests on the material components of a few artifacts were performed by László Költő using the X-ray emission analyses (Charts No. 1-2). The diadem (jakd 06-07, 12) belongs to the group of tin-bronze items of a low tin content together with the needle (jakd 11), cased hatchet (jakd 05) and circle (jakd09), whilst other tested artifacts ("raw alloys") constitute a different group (Picture No. 3). Later, a comparison of the artifacts recovered in Velem as well as already tested up to a higher extent may clear in fact, whether part of the treasures artifacts was produced in the Velem St. Vid workshop center. 119