Paper presents results of analysis of the assemblage of flint artefacts from the settlement of Linear Pottery culture (LBK) at the site no. 6 in Podlesie, Świętokrzyskie voivodeship. Importance of the site is primarily by its location: on the border of two geographical regions, two geological conditions, two settlement eccentrics of the LBK and two provinces of lithic raw materials. Within the flint assemblage we can distinguish two main classes of lithical artefacts: an internally cohesive collection of 104 obsidian products and a collection of 2069 artefacts made of at least five different types of flint. In the group of siliceous rocks, the most numerous is the Jurassic flint from Cracow area – 53%. Second place in the inventory is occupied by the Światchowski flint, which share reaches the level of 19%. Only slightly smaller are amounts of chocolate flint – 15%.
{"title":"Między Wschodem a Zachodem. Inwentarz krzemienny z osady ludności kultury ceramiki wstęgowej rytej na stanowisku Podlesie 6, woj. świętokrzyskie","authors":"M. Przeździecki, M. Szubski, Artur Grabarek","doi":"10.14746/FPP.2020.25.09","DOIUrl":"https://doi.org/10.14746/FPP.2020.25.09","url":null,"abstract":"Paper presents results of analysis of the assemblage of flint artefacts from the settlement of Linear Pottery culture (LBK) at the site no. 6 in Podlesie, Świętokrzyskie voivodeship. Importance of the site is primarily by its location: on the border of two geographical regions, two geological conditions, two settlement eccentrics of the LBK and two provinces of lithic raw materials. Within the flint assemblage we can distinguish two main classes of lithical artefacts: an internally cohesive collection of 104 obsidian products and a collection of 2069 artefacts made of at least five different types of flint. In the group of siliceous rocks, the most numerous is the Jurassic flint from Cracow area – 53%. Second place in the inventory is occupied by the Światchowski flint, which share reaches the level of 19%. Only slightly smaller are amounts of chocolate flint – 15%.","PeriodicalId":330472,"journal":{"name":"Folia Praehistorica Posnaniensia","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121897843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper focuses on the question of a mysterious building on the top of Krakus burial mound (Cracow, Poland) which was documented on some engravings from the late 16th and 17th century presenting panoramas of the city of Cracow (Matthäus Merian, 1617; and Eric Dahlberg, 1655). On the Swedish map from 1702 the top of the mound is already empty. The hypothesis is that probably a small Romanesque rotunda stood there. The facility established over a big burial mound resembles the case of St. Nicholas (Sv. Nikola) church in Nin (Croatia) which is an early Romanesque rotunda (triconchos) rom ca. 1100 AD which stands till today on the top of a prehistoric mound. In Cracow excavation done on Krakus mound in 30ties eventually revealed a negative of destroyed foundations od the rotunda, which remained uninterpreted.
{"title":"Rotunda na Kopcu Krakusa?","authors":"Leszek P. Słupecki","doi":"10.14746/FPP.2020.25.12","DOIUrl":"https://doi.org/10.14746/FPP.2020.25.12","url":null,"abstract":"The paper focuses on the question of a mysterious building on the top of Krakus burial mound (Cracow, Poland) which was documented on some engravings from the late 16th and 17th century presenting panoramas of the city of Cracow (Matthäus Merian, 1617; and Eric Dahlberg, 1655). On the Swedish map from 1702 the top of the mound is already empty. The hypothesis is that probably a small Romanesque rotunda stood there. The facility established over a big burial mound resembles the case of St. Nicholas (Sv. Nikola) church in Nin (Croatia) which is an early Romanesque rotunda (triconchos) rom ca. 1100 AD which stands till today on the top of a prehistoric mound. In Cracow excavation done on Krakus mound in 30ties eventually revealed a negative of destroyed foundations od the rotunda, which remained uninterpreted.","PeriodicalId":330472,"journal":{"name":"Folia Praehistorica Posnaniensia","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128127075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The study presents 175 artefacts from the settlement center in Gniezno – beads and rings. The materials come from settlement levels from around the mid-10th to the 13th centuries. The latest chronological findings based on 14C dating have made it possible to refine the dating, especially of the early settlement levels of the stronghold, where the vast majority of glass artefacts come from. Threeba sic groups of beads have been distinguished based on the technique of their production – beads made of a drawing a tube, the technique of winding a glass strip, as well as casting and sintering. The results of 7 physico-chemical analyzes of the glass composition (performed with the X-Ray Fluorescence, XRF method) are presented. Physicochemical analyzes of the chemical composition of the tested beads made it possible to determine the technological group and the type of glass. An attempt was made to explain the origin of the starting material (glass) for jewelery. A comparative analysis made it possible to indicate in a general manner possible manufacturers and to outline the likely directions of the influx of these glass ornaments to Gniezno.
{"title":"Kwestia chronologii, typologii i pochodzenia szklanej biżuterii z wczesnośredniowiecznego ośrodka grodowego w Gnieźnie","authors":"J. Sawicka","doi":"10.14746/FPP.2020.25.11","DOIUrl":"https://doi.org/10.14746/FPP.2020.25.11","url":null,"abstract":"The study presents 175 artefacts from the settlement center in Gniezno – beads and rings. The materials come from settlement levels from around the mid-10th to the 13th centuries. The latest chronological findings based on 14C dating have made it possible to refine the dating, especially of the early settlement levels of the stronghold, where the vast majority of glass artefacts come from. Threeba sic groups of beads have been distinguished based on the technique of their production – beads made of a drawing a tube, the technique of winding a glass strip, as well as casting and sintering. The results of 7 physico-chemical analyzes of the glass composition (performed with the X-Ray Fluorescence, XRF method) are presented. Physicochemical analyzes of the chemical composition of the tested beads made it possible to determine the technological group and the type of glass. An attempt was made to explain the origin of the starting material (glass) for jewelery. A comparative analysis made it possible to indicate in a general manner possible manufacturers and to outline the likely directions of the influx of these glass ornaments to Gniezno.","PeriodicalId":330472,"journal":{"name":"Folia Praehistorica Posnaniensia","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126726082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The issues of memory, heritage, and archaeology are strictly connected to the archaeology of the contemporary past and the Nazi period. That connection is a new field of research that lead to the reconceptualization of ideas of a museum, archives, and their relations to memory. In the paper authors discuss the case study of the area of former labor and concentration camp Plaszow in Krakow (1942–1945). Since 2016, numerous archeological research and education programs were conducted by the Museum of Krakow. The main purpose of documentation, surface surveys, and excavations was preservation of the architectural relicts and landscape, and supplementing the historical knowledge of authentic archaeological sources. The results of the research were related to the preparation of the boundaries for the future commemoration of the former camp’s area and its history as a museum and memorial site. The outcome of the archaeological activity is collection of artifacts, documentation and archaeological knowledge that influenced the idea of commemoration in its specific way. The article attempts to answer the questions about the categories of archives and museums.
{"title":"Muzeum-archiwum pamięci. Uwagi na temat roli materiałów archeologicznych w muzeach-miejscach pamięci na przykładzie KL Plaszow","authors":"Marta Śmietana, Kamil Karski","doi":"10.14746/fpp.2019.24.17","DOIUrl":"https://doi.org/10.14746/fpp.2019.24.17","url":null,"abstract":"The issues of memory, heritage, and archaeology are strictly connected to the archaeology of the contemporary past and the Nazi period. That connection is a new field of research that lead to the reconceptualization of ideas of a museum, archives, and their relations to memory. In the paper authors discuss the case study of the area of former labor and concentration camp Plaszow in Krakow (1942–1945). Since 2016, numerous archeological research and education programs were conducted by the Museum of Krakow. The main purpose of documentation, surface surveys, and excavations was preservation of the architectural relicts and landscape, and supplementing the historical knowledge of authentic archaeological sources. The results of the research were related to the preparation of the boundaries for the future commemoration of the former camp’s area and its history as a museum and memorial site. The outcome of the archaeological activity is collection of artifacts, documentation and archaeological knowledge that influenced the idea of commemoration in its specific way. The article attempts to answer the questions about the categories of archives and museums.","PeriodicalId":330472,"journal":{"name":"Folia Praehistorica Posnaniensia","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123713974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article relates to the question, „what exactly is a mineral admixture in Globular Amphora Culture?”. My studies prove that only the granites fulfill the criteria. I designed the experiment. One of the goals was to examine which stone is the easiest to process. It was a rapakivi granite. Its minerals are pink or grey after processing. The admixture found in GAC ceramics has the same color and the same size of minerals. There was another type of admixture which was not recognizable.
{"title":"Studia nad domieszką mineralną w ceramice naczyniowej kultury amfor kulistych z terenu Kujaw","authors":"A. Świerczyńska","doi":"10.14746/fpp.2019.24.18","DOIUrl":"https://doi.org/10.14746/fpp.2019.24.18","url":null,"abstract":"This article relates to the question, „what exactly is a mineral admixture in Globular Amphora Culture?”. My studies prove that only the granites fulfill the criteria. I designed the experiment. One of the goals was to examine which stone is the easiest to process. It was a rapakivi granite. Its minerals are pink or grey after processing. The admixture found in GAC ceramics has the same color and the same size of minerals. There was another type of admixture which was not recognizable.","PeriodicalId":330472,"journal":{"name":"Folia Praehistorica Posnaniensia","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129191684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Pamięci Profesora Tadeusza Makiewicza","authors":"Dorota Minta-Tworzowska","doi":"10.14746/fpp.2019.24.19","DOIUrl":"https://doi.org/10.14746/fpp.2019.24.19","url":null,"abstract":"Pamięci Profesora Tadeusza Makiewicza","PeriodicalId":330472,"journal":{"name":"Folia Praehistorica Posnaniensia","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122495299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Bony flutes dated back to around 43,000 years old are the clearest examples of musical instruments ever found. There are also other archeological artifacts related to the possible musical activity of Homo sapiens and Homo neanderthalensis, which are the subject of numerous controversies. Bearing in mind that singing is the simplest form of musical activity that does not need any tools, the beginning of music must have been much older than the first musical instruments. Due to the fact that the sonic results of prehistorical hominins’ musical activity have not been preserved, the question of the artistic nature of hominins’ music requires the ethological knowledge as well as archeological findings. One of the widely discussed ethological hypotheses concerning human proclivity to behave artistically is the idea of artification, which has been proposed by Ellen Dissanayake. This idea suggests that the source of the human proclivity for art is the species-specific predisposition of Homo sapiens to transform the mundane non-artistic phenomena into art. However, while in the case of visual arts, the archeological discoveries of prehistorical paintings are by themselves the proof of such transformation in order to recognize the aesthetic function of our ancestors’ sound expressions the interpretation of the archeological discoveries of musical instruments in a broader context seems to be indispensable. The main aim of this article is to indicate that communication that has led to social consolidation has been the primordial function of music. Only together with the accelerating cultural evolution that occurred at the end of the middle Paleolithic period, musical activity was transformed from a simple communicative tool into an aesthetic phenomenon. It is proposed that this transformation could have been possible thanks to the appearance of the proclivityto artification.
{"title":"Kwestia pierwotności funkcji estetycznej muzyki w świetle znalezisk archeologicznych","authors":"P. Podlipniak","doi":"10.14746/fpp.2019.24.12","DOIUrl":"https://doi.org/10.14746/fpp.2019.24.12","url":null,"abstract":"Bony flutes dated back to around 43,000 years old are the clearest examples of musical instruments ever found. There are also other archeological artifacts related to the possible musical activity of Homo sapiens and Homo neanderthalensis, which are the subject of numerous controversies. Bearing in mind that singing is the simplest form of musical activity that does not need any tools, the beginning of music must have been much older than the first musical instruments. Due to the fact that the sonic results of prehistorical hominins’ musical activity have not been preserved, the question of the artistic nature of hominins’ music requires the ethological knowledge as well as archeological findings. One of the widely discussed ethological hypotheses concerning human proclivity to behave artistically is the idea of artification, which has been proposed by Ellen Dissanayake. This idea suggests that the source of the human proclivity for art is the species-specific predisposition of Homo sapiens to transform the mundane non-artistic phenomena into art. However, while in the case of visual arts, the archeological discoveries of prehistorical paintings are by themselves the proof of such transformation in order to recognize the aesthetic function of our ancestors’ sound expressions the interpretation of the archeological discoveries of musical instruments in a broader context seems to be indispensable. The main aim of this article is to indicate that communication that has led to social consolidation has been the primordial function of music. Only together with the accelerating cultural evolution that occurred at the end of the middle Paleolithic period, musical activity was transformed from a simple communicative tool into an aesthetic phenomenon. It is proposed that this transformation could have been possible thanks to the appearance of the proclivityto artification.","PeriodicalId":330472,"journal":{"name":"Folia Praehistorica Posnaniensia","volume":"48 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122654018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The practice of contemporary artists is sometimes similar to the methodology of the researcher of the past. The creators engaged in the discovery of history, generate images of memory using historically or biologically similar methods, among which archival research, archaeological excavations and botanical experiments are a full-fledged artistic method. The reason for the work of Sława Harasymowicz is the nearby history, in which the members of her family and herself participated. Thierry Oussou has recently become famous for the excavation mystic that triggered the diplomatic incident. In his artistic work, Michael Wang raises global themes: climate change and economics. Their projects level the artistic and research work with the process. They reject the dictates of the objectivity, and linearity of the story. The method chosen by them, the questions posed and comments made by commentators are included in the discourse of contemporary humanities, in which the human subject has been included in the system of dependencies between animals, plants, and machines.
{"title":"Historia, archeologia i paleobotanika. O demaskowaniu dziejów w badawczo- artystycznej praktyce Sławy Harasymowicz, Thierry’iego Oussou oraz Michaela Wanga","authors":"K. Siatka","doi":"10.14746/fpp.2019.24.15","DOIUrl":"https://doi.org/10.14746/fpp.2019.24.15","url":null,"abstract":"The practice of contemporary artists is sometimes similar to the methodology of the researcher of the past. The creators engaged in the discovery of history, generate images of memory using historically or biologically similar methods, among which archival research, archaeological excavations and botanical experiments are a full-fledged artistic method. The reason for the work of Sława Harasymowicz is the nearby history, in which the members of her family and herself participated. Thierry Oussou has recently become famous for the excavation mystic that triggered the diplomatic incident. In his artistic work, Michael Wang raises global themes: climate change and economics. Their projects level the artistic and research work with the process. They reject the dictates of the objectivity, and linearity of the story. The method chosen by them, the questions posed and comments made by commentators are included in the discourse of contemporary humanities, in which the human subject has been included in the system of dependencies between animals, plants, and machines.","PeriodicalId":330472,"journal":{"name":"Folia Praehistorica Posnaniensia","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131876536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The researches on the Paleolithic society of hunters-gatherers enter into an inspiring perspective, enriching the reflection on memory. The article considers the forms of the collective memory of the hunters-gatherers community of the Paleolithic era. The author postulates to widen the term of memory with the practices of embodiment and habitual memory. It helps to grasp the ways of memorizing by the communities on a deeper level. Cultural memory is deeply rooted in routine activities, which is more or less conscious. The mnemotechnic power that lives in such activities allows for preserving of cultural models. The archaeological analyses of flint working materials present the very concrete examples of such events.
{"title":"Studia nad pamięcią a archeologia późnego paleolitu. O performatywnym wymiarze praktyk pamięci w pradziejowych społecznościach łowiecko-zbierackich","authors":"Jakub Mugaj","doi":"10.14746/fpp.2019.24.11","DOIUrl":"https://doi.org/10.14746/fpp.2019.24.11","url":null,"abstract":"The researches on the Paleolithic society of hunters-gatherers enter into an inspiring perspective, enriching the reflection on memory. The article considers the forms of the collective memory of the hunters-gatherers community of the Paleolithic era. The author postulates to widen the term of memory with the practices of embodiment and habitual memory. It helps to grasp the ways of memorizing by the communities on a deeper level. Cultural memory is deeply rooted in routine activities, which is more or less conscious. The mnemotechnic power that lives in such activities allows for preserving of cultural models. The archaeological analyses of flint working materials present the very concrete examples of such events.","PeriodicalId":330472,"journal":{"name":"Folia Praehistorica Posnaniensia","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132605705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses the phenomenon of reusing of ancient rock art iconography in modern art on the example of the artworks of Canadian Cree visual artist Jane Ash Poitras. To understand the role the rock art plays in the collages of J.A. Poitras, the first part of the paper is focused on the Indigenous perspective, which provides the clue to reading complexity of history and contemporary art of the First Nations in Canada. Then the painting Shaman never die V is thoroughly analyzed. It is showed that rock art motifs used in this artwork had been very carefully selected and the meanings they evoke significantly go in pair with wider ideas related to traumatic history of Indigenous Canadians as well as ideas related to persistence of Indigenous spirituality symbolized by the image of shaman.
{"title":"„Szaman nigdy nie umiera”. Sztuka naskalna jako wyraz tożsamości w twórczości Jane Ash Poitras","authors":"A. Rozwadowski","doi":"10.14746/fpp.2019.24.13","DOIUrl":"https://doi.org/10.14746/fpp.2019.24.13","url":null,"abstract":"This article discusses the phenomenon of reusing of ancient rock art iconography in modern art on the example of the artworks of Canadian Cree visual artist Jane Ash Poitras. To understand the role the rock art plays in the collages of J.A. Poitras, the first part of the paper is focused on the Indigenous perspective, which provides the clue to reading complexity of history and contemporary art of the First Nations in Canada. Then the painting Shaman never die V is thoroughly analyzed. It is showed that rock art motifs used in this artwork had been very carefully selected and the meanings they evoke significantly go in pair with wider ideas related to traumatic history of Indigenous Canadians as well as ideas related to persistence of Indigenous spirituality symbolized by the image of shaman.","PeriodicalId":330472,"journal":{"name":"Folia Praehistorica Posnaniensia","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129892448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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