Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2007)

JÁNOS GYÖRGY SZILÁGYI: A Boar Hunt

Still fundamental: G. Kazarow, Denkmäler des tbrakiscben Reitergottes in Bulgarie/? (Dissertationes Pannonicae II, 14), Budapest 1938. The most important later bibliography: Will 1955, 56-88 and most recently M. Oppermann, Der thrakische Reher des Ostbalkanraumes im Spannungsfeld von Graecitas, Romanitas und lokalen Traditionen, Langenweissbach 2006 (complete bibliography: 358-78). On Greek use and representations of the embas, see II. R. Goette, Jdl 103 (1988), 423-44. On the "Thracian rider"'s Hellenistic and even a few fifth-century prototypes, see Will 1955, 56-88. Ph. Petsas, Pulpudeva 2 (1976), 192-204, sees forerunners of the "Thracian rider" in Macedonian representations, but these images are rather proof of the close contacts between the two areas, and possibly the existence of shared models. Picard 1941, 88-92; Cl. Rolley and E. Condurachi, in L. Kahil and Chr. Augé ed., Mythologie grécoromaine, mythologies périphériques, Paris 1981, 69. On Thasian terracotta workshops, see first of all A. Muller, Les terres cuites votives du Thesmophorion de Batelier au sanctuaire, Etudes Thasiennes XVII, Paris 1996. The boar-hunt type discussed here is not lacking in Thasian art: for example on a marble grave-stela from a local workshop (Y. Grandjean and F. Salviat, Guide de Thasos, 2. éd., Paris 2000, 268-9, fig. 217) and the frieze of the theatre proskenion: Ch. Picard, Les murailles l: Les portes sculptées à images divines (Etudes Thasiennes VIII), Paris 1962, 146, n. 1 and most recently B. Holtzmann. La sculpture de Thasos. Corpus des reliefs I (Etudes Thasiennes XV), Paris 1994, 108 and pl. 35b. R. Pettazzoni, Der allwissende Gott. Zur Geschichte der Gottesidee (tr. A. Voretzsch), Hamburg 1961, 103 (1 used the German translation: the Italian original was published in 1957); A. Cermanovic-Kuzmanovic, Archaeologia Jugoslavica 4 (1963), 54; also Oppermann 2006, 318. N. Dimitrova suggests, on the basis of the inscribed examples, that the iconographie type of the "Thracian rider" was originally a "nameless conventional image" (Hesperia 71, 2002, 217); cf. already Will 1955, 78-79. Further bibliograpy concerning also near-eastern cultures: J. M. Husser, RHRel 225 (2008), 53 and n. 11-12. W. H. D. Rouse, Greek Votive Offerings, Cambridge 1902 (reprinted 1976), 23-27; A. Brelich, Gli eroi greci, Rome 1958, 180 (but see his later critical remarks in the posthumous Storia delle religion!: perché, Naples 1979, 70-72); LIMC VI (1992) 1019-20, s.v. Heros equitans, on the boar hunt esp. 1071-72; Br. Rull, Eurasia Antiqua 6 (2000), 444 ("vergöttlichter Jägerheld"); Dimitrova 2002, 222-23. The heroisation of the rider extended to other cultures: see e.g. F. Benoit, Vhéroisation équestre, Aix-enProvence 1954 (Gallia); M. P. Garcia-Gelabert Perez, and J. M. Blázquez Martinez, Lucentum 25 (2006), 113-8 (Hispánia). A. van Gennep, Les rites de passage, Paris 1909; see the discussion by Z. Fejős, in Ethnographia 90 (1979), 406-14. On marginalisation: V. W. Turner, The Ritual Process, London 1969, 94-95f. W. Burkert, Homo necans, Berlin, and New York 1972, 59, 76; M. B. Hatzopoulos, Cultes et rites de passage en Macédoine, Athens 1994, 87-111; Schnapp 1997, 150-56, 456-64 (his interpretation is prob-