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

One of the most acceptable interpretation of the presence of these ten female sculptures is that they represent the Thracians' image of the Mother Goddess, a goddess of vegetation and fertility, reigning over life on Earth and in the future world. Whatever the interpretation, their images which are closely related to, and are typical of, the religious beliefs of the Thracians only, contribute to clarifying the symbolic essence of the female images in the Thracian funeral rite. The two funeral beds, also made of well hewn stone, have a delicate plastic decoration which is in harmony with the entire monumental solution. In the tomb were found about 34 pieces of broken and scattered stone fragments. When they were put together, a most interesting element of major importance for the architectural design was discovered. This is the aedicula, or naiskos. This is the ceremonial facade entrance to the temple, which fully repeats the Hellenistic models of this architectural form. The aedicula was topped by a rich plastic painted decoration, and had three front doors. It was placed in front of the male sarcophagus and hid it entirely. Thus, it acts as a symbol of the dividing line between life and death, and is the most sacred element of the tomb. Just above the aedicula, on the wall of the lunette, there is a painting developing the theme of the deification of the ruler who is represented as a horseman. In the centre of the composition a female figure, most probably a goddess, offers the horseman a gold wreath. A procession of maid-servants carrying gifts and of armour-bearers follows behind the goddess. This compositions bears a remarkable resemblance to the composition in the Kazanluk. Thracian tomb we already discussed. Some of the objects are even literally repeated, for example the box with the ridged lid in the hand of on of the female figures. The scholar Ivan Venedikov offers an outstanding hypothesis explaining the representation of the horseman on the mural. The male figure is slightly bent. On the horseman's head there is a horn - a strange element of ornaments. Proceeding from the fact that the other figures are painted with great anatomic skill, this stooping can be interpreted as an attempt at a realistic recreation of an anatomic peculiarity of the horseman. According to historical data, in the 4th century BC, Philip of Macedonia invaded Thrace, which later became part of the empire of Alexander of Macedonia. Is it possible that the stooping man who is depicted in this composition, and is considered as a Hero by the Thracians, is Alexander of Macedonia himself - for he was also stooping - and is it possible that this composition is a realistic illustration of an event which took place in these lands? The unique and phenomenal cultural value of the Sveshtari tomb is determined by the following elements: 1. Following in rough outlines the Hellnistic architectural rules, the artist had accomplished a unique piece of plastic art. 2. Because of its perfect proportions the tomb has a particularly impressive monumental effect. 3. The exquisite paintings resemble some of the most famous examples of the Hellenistic era but the ten female sculptured figures, their arrangement and the decorative plastic solution (especially the configuration of the faces) have no known analogy in the world. 4. The ancient builder had found an excellent solution to some construction problems concerning the sculptures which are situated in a medium that is not typical of the Hellenistic architectural model. As I mentioned, the female figures create the impression that they support the upper and heavier architectural elements. This perfectly executed solution imparts a monumental significance to the interior of the tomb but what does it conceal? The truth is, that the 1.20 metre-high figures support nothing; they are even intentionally separated from the lower and upper horizontal panels. When positioning the figures the ancient builder was resolved to protect them as best as he could from a possible sinking of the tomb which would inevitably result in pressing and breaking of the most sensitive parts of the plastic figure. The decision of the master to