A műemlékek sokszínűsége (A 28. Egri Nyári Egyetem előadásai 1998 Eger, 1998)

Előadások / Presentations - Svetla KOINOVA METCHKUEVA: Two thracian tombs in Bulgaria entered in the world heritage list

DECORATION SYSTEM OF THE DROMOS The system is interesting because of the fact that an attempt had been made at imitating the wall of a large building, which is ornamentally fragmented and is topped by a frieze comprising two figurai compositions. The segmentation of the walls resembles that of the Greek temples but here it is achieved by means of flowers: the individual strips are clearly separated by ornamental frizes bearing elements that are typical of the Hellenistic tradition (Ionic and Lesbian cyma). The figurai friezes on the eastern and the western wall depict sceneshaving a similar subject but a different composition: the clash between two armies. In both scenes the central place is occupied by two warriors facing each other. It is a curious fact that the compositions do not follow examples of the well-known ancient Greek painting patterns, and have nothing in common with the mythological battle scenes of the Greek art of the 4th century BC. The artist had obviously tried to reproduce as truly as possible a reality he knew too well, being conscious of the fact that it is as important as the reality depicting the Heroes of the Hellenistic tradition. DECORATION SYSTEM OF THE CENTRAL CHAMBER The artist had preserved the same ornamental fragmentation in the central vault chamber as in the dromos. The wall above the pedestal is painted Pompeyan red, and is considerably higher because of the large dimensions of the vaulted chamber. Above it is painted an entableman (entablature) consisting of a threesection architrave lopped with an embossed frize of bucrania and rosettes. Above them is a series of ornamental friezes ending in a band of Lesbian cyma in blue and red. Then comes the main ornamental frieze which is perfectly balanced in respect to the decorative fragmentnation bands of the burial chamber, both concerning the scale of forms and the relation between colours and values. Here we meet with a brilliantly implemented monumental principle which culminates in a solution that is rarely found in world art. The excellence with which surface and space are organised by means of colour is reminiscent of the Egyptian temples, where proportions were attached a very special importance, and had reached such heights of perfection which permitted the inference of numeric laws. The figured composition represents a burial feast scene, which is obviously a traditional element of the religious rites of Thracians. The deceased are depicted at a table piled with dishes; their posture and clothing, the man's funeral wreath and the diadem on the woman's head indicate that they are the principal characters, and are of noble origin. On both sides are their loyal servants and beloved horses whose presence in the religious rite is obligatory. There is something very touching in the locked fingers of the central figures of the man and the woman. Their colour portrayal is different, and suggests of the existence of a specific psychological pattern of mind of these two individuals who leave for the next world together. The gentle bending face of the young woman, lost in thought, tells of a complex psychological status. To the left of the sitting Thracian woman there come two maid-servants carrying characteristic ritual objects. Their bearing is composed, and create the feeling of a silent and faithful presence. To the right side of the sitting male figure there comes a woman with a plate full of fruits. Judging from the figure's noble carriage, rich clothes and intentionally enlarged size, she must have been someone very close to the dead couple, and also of noble origin. Follow the figures of a cupbearer and of two women-musicians, also quiet and composed. Behind them are painted two richly saddled horses, a groom and a warrior. The placement of these two last figures behid the horses is justified from the point of view of the composition but it also reflects the hierarchy in the grouping of the figures. The composition of