Folia archeologica 23.
Tibor Kovács: Askoi, Bird-Shaped Vessels, Bird-Shaped Rattles in Bronze Age Hungary
IO T. KOVÁCS from two basic categories—birds presented in space (plastically) or on a smooth surface (drawing) —with the latter type we do not intent to deal below. 7 The plastic treatment of birds in Hungary can put four main types: i. askoi, 2. bird-shaped vessels, 3. bird-shaped rattles, 4. bird figurines. 8 1 . Askos. This is the most abstract representation of birds. In the sense used by the European, primarily Mediterranean prehistoric research, an askos is a pouring vessel symbolizing a stylized bird, with a neck, or opening placed excentrically. Its maker had referred to parts of the bird's body (wings, legs, tail) either by means of indication, or not at all. Most of the askoi have on their backs a ribbon-handle—to serve for hanging them up (?). 2. Bird-shaped vessel. The representation of the bird is more realistic than on the askos. The bird's body is shaped vessel-like, with an opening—generally in a central position —on top. To the vessel-like portion joins organically a generally solid bird's head. The shaping of the bird's body shows great variety according to the time and place of its production. 3. Bird-shaped rattle. The objects listed here may also be considered as closed, inside hollow bird-shaped figurines. Their technical execution is of the highest quality. This may also be in connection with their practical function. Their spreading in space and time is more restricted than the above two types. 4. Bird-shaped figurines. These were statuettes of birds of solid bronze, in the Late Bronze Age, they were mainly used for a decorative function. In the Carpathian basin, however, an askos or a bird-shaped rattle was only made of clay. 9 The majority of bird-shaped vessels was also made of clay, we have only two pieces from the late Bronze Age, made of bronze. 1 0 Solid bird-shaped statuettes were nearly exclusively cast of bronze. — However we do not intend to deal with them in this paper. In keeping with the above classification, we shall try to divide according to types the bird-shaped objects of the Bronze Age in Hungary. Our survey is not 7 A considerable portion of the Carpathian pieces belonging here are to be found in the metal objects of the earlier phase of the Late Bronze Age, and their interpretation can be approached by research in the bird-symbolism of the Hallstatt period.- Cf. Kossack, G., Studien zum Symbolgut der Urnenfelder und Hallstattzeit Mitteleuropas. (Berlin 1954) joff. ; Hencken, H., Tarquinia, Villanovans and Early Etruscans. (Cambridge Mass. 1968) 5 14ff.—It seems worth referring to a plane representation of a bird, the disc of Ottlaka (Gräniceri), with controversial interpretation of its chronology and the symbolism of its art by many scholars.-Cf. Mo^solics, A., Die Goldfunde des Depotfundhorizontes von Hajdusámson. BRGK 46-47 (1965-66) 49., Pl. 23. no. 2.; Hansel , В., Plastik der jüngeren Bronzezeit und der älteren Eisenzeit aus Bulgarien. Germania 47(1969) 84.; Malmer , Al. P., Bronsristningar. Kuml 1970. 207. - From the relics of Hungarian figurai art from the first half of the second Millenium В. C. only a few drawings are known: outside the above-mentioned insiced man's figure from Tószeg (cf. Note 1.) I. Bona observed an animal's figure on a vessel: A középső bronzkor . . ., the same author described an incised hand on a vessel from the cemetery of Izsák: Magyarországi művészet ... 17. 8 Classification according to types seems to be an attempt, and the given types are used as auxiliary concepts in research. 9 M. Szabó has recently described on bronze pendants with a filigree bird figure : Bulletin du Musée Hongrois des Beaux-Arts 38 (1972) 15-21, He believes that the pieces preserved in Hungarian collections were not made in the Carpathian basin. Cf. Boit%ek,J., Openwork "BirdCage" Bronzes. In: The European Community in Later Prehistory. (London 1971) 77fr. 1 0 Натре/, J., A bronzkor emlékei Magyarhonban. I. (Bp. 1887) Pl. LXVII. no. 3., PI. LXVIII. no. 5.
