Fitz Jenő (szerk.): The Celts in Central Europe - István Király Múzeum közelményei. A. sorozat 20. A Pannon konferenciák aktái 2. (Székesfehérvár, 1975)

B. Jovanović: The Scordisci and their art

understandable that these influences are not equally manifest in all art objects from Scordisci territory. Furthermore, most of the jewelry and weapons undoubtedly represent typical forms of La Tène art of the Carpathian Basin and thus their origin is not limited to Scordisci territory.

It is important to reemphasize the generally known attribution of the Gundestrup cauldron to the Eastern Celts on the basis of its stylistic features and technique of manufacture: the Scordisci are thus probably its creators(6). It is precisely the Gundestrup cauldron’s stylistic features, encompassing late La Tène artistic expressions of the Balkan Danube Basin, which more closely define the issue of Scordisci art. In short, one must investigate those cases in which the usual themes of Celtic art are expressed in a manner which reveals the influence of the indigenous surroundings, the more so because the indigenous art has its own proper traditions.

If one commences with articles in daily use such as pottery, tools, or weapons, it is the ornamentation of the La Tène long swords which is immediately striking. In this respect what is certainly very interesting is the location of the sculptural shaping of the mask on the handle of the sword from Kupinovo (Srem): its markings would date it in the middle La Tène period (fig. 1). The rough modeling, the sculptural emphasis of each detail of the eye and brows, and the completely stylized face, here represent sufficiently clearly the distinctive features of n id La Tène art(7). But this method of sword decoration is not the usual one. In mid La Tène, sword decorationes usually tendril designs, were engraved (not modelled) on the scabbard. Engraved specimens from Vojvodina and Slavonia illustrate the evolution of these motifs from the lyre or „dragon” of early La Tène to elaborated, complex, plant like, curvilinear designs(8).

A similar unusual example is the zoomorphic design on the blade of the Kupinovo sword where the representation of a wild boar perhaps has a magical, apotropaic significance and is not simply craftsman’s mark (fig. 2). Although it is in miniature, this representation was rendered in clear stylization, undoubtedly derived from late Greek archaic art(9). Various other sword markings have generally been interpreted as desingating particular workshops, which presume the existence of a number of weapon-producing centers in the Yugoslav Danube basin. This would correspond to the military power of the Scordisci(10). Finally we mention one of the rare figurai representations: the partially preserved bronze staţii) S. PlOOOTT, O. C., 226.

(7) N. MAJnariC-Pandíií:, Keltsko-latenska kultura u Slavoniji i Srijemu. Vinkovci, 1970, 29, Pl. XVIII,9.

(8) K. Vinski-Gasparini, Keltski ratniőki grob iz Butine. Arh. rad. i raspr. I, 1959, 285 — 287, fig. 18 — 27.

(7) N. MaJNARic - PandZic, o. c., 29, PL XVIII, 1.

(10) J. Todorovic, o. c., 67, PI. XXXVII, 6-9.

tuette of a warrior from Kladovo which is attributed to the Scordisci(n).

The markings and decorative motifs on paint ed pottery from fortified La Tène settlements in Vojvodina accords completaly with late La Tène styles in central and southeastern Europe(12). The anthropomorphic representation is particularly worthy of attention. This design, worked in separate frames on the frieze or the neck of a burnished earthenware amphora, is a component part of a geometric, ornamental design (fig. 3). The human figure is simplified to the utmost into a purely geometrical design, and has one hand raised, holding a torch or a sheaf of grain (wheat?). This discovery is from Gomolava (Srem) and according to the stratification dates from the late period of the Scordisci settlement in that area, that is, between 50 BC and 50 AD(13). A very similar anthropomorphic representation was found in Tokod (Hungary) again on the neck of an amphora, in an identical pose. One might think this is a specific ritual scene common to the Celtic tribes of the late La Tène in the Pannonian plain(14).

The artistic inheritance acquired from the older settlers — The Illyrians, Pannonians, Thracians and Scythians — was preserved in the Balkan Danube areas by the Scordisci in jewelry making or pottery ornamentation. In certain instances there was a direct acquisition of decorated objects of local origin such as the bronze astragal belts found in early La Tène graves in Slavonia or northern Serbia(lû). But the original design persisted and did not influence the form or ornamentation of the later La Tène iron or bronze belts.

Bracelets consisting of one or more spiral twists, with simply finished terminals, also belong to the jewelry forms surviving from the early Iron Age, but variations of these may be encountered at the end of the second century BC and even the beginning of the first century BC(16). Decorated buckles set on broad leather belts used by the Scordisci right up to the middle of the second century BC were ornamented with hammered geometric desings on bronze sheeting. Their local origin is attested by findings in the Illyrian-Pannonian regions(17).

That the use of ornamental techniques was highly developed in the previous period is evident in the

(11) M. G a iíaSan in, Figura keltskog ratnika iz Kladova. Zburn. Nur. muz., ÍV, 1964, 79 — 83, fig. 1.

(12) B. JovanoviC, Naselje Skordiska na Oomolavi. Rad Vojvodj. muz., XX, 1971, 132, Pl. IV, I —4.

(13) Ibid., 132, Pl. IV, 5.

(14) É. Bonis, Die spätkeltische Siedlung Gellérthegy- Tabán in Budapest. Budapest, 1969, 216, fig. 105,5.

(15) J. Todoroviü, Praistorijska Karaburma. Beograd 1972, 68, Pl. VI, 2; In., Kelti u jugoistoSnoj Evropi. Beograd, 1968, 61, Pl. XXV, 5-6; Pl. XIX, 12.

(16) D. GaraSanin, Katalog metala. Beograd, 1954, 67, PI. LIX, 3-4.

(17) g. N adj, Zastitno iskoparanje na Gomolavi kod Hrtkovaca. Rad Vojvodj. muz., IX, 1960, 128, PI. XI, 9; J. Brunsmid, Prehistoriski predmeti sremske zupanije. VHAD, VI, 1902, 84.

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