Preliminary report: An Ethnological flashback on Horse-rider cult in open air sanctuaries in Eastern Macedonia, Greece.
George Dimitriadis
HERAC, Philippi-Greece, mailto:g.dimitriadis@herac.gr
George Iliades,
IPT-UTAD, Portugal, gsiliadis@yahoo.gr
Abstract. As demonstrate during the financed research projects (DRP, 1998-2000 and HRAD, 2004-2006) the rock engravings in the region of Philippi were probably carved by the Hedones, a Thracian tribe that occupied the lands stretching between the Strymon and Nestos rivers and from Mt. Pangaion to the Rodopi mountain chain. The archaeological evidence suggests a dynamic culture and religious transformation process of an organized society in transition between Late Bronze Age and Early Iron Age. Both archaeological expeditions were organized in an interdisciplinary research platform including not only rock art documentation but also landscape survey, ethnological investigation, pollen and vessel analysis. Special pilot projects are still going on focusing the attention to special petroglyphs as the horse-rider figure which emerging as a standard regional feature and presented in all the open air sanctuaries of Eastern Macedonia. A typological schedule is made and an ethnological comparison research is in progress. The present paper presenting the preliminary state of the research.
Keywords: Eastern Macedonia, ethnology, horse-rider, open air sanctuaries, rock art.
Ground.
The rock art of Philippi was studied and presented to scholars in several single signed papers [Dimitriadis 1999b, 2000c, 2001c, 2004p, 2004g, 2005m, 2006n, 2006o]. Most of them were basically a state of the research overview [Dimitriadis 1997, 1999a, 2004m, 2004o] and the rest explain the documentation, preservation and restoration action as well as the museum culture dissemination strategies undertaken the last years [Dimitriadis 2000d, 2004p, 2006n, 2006o]. The present paper establish the turn point of the future research program where thematic and interdisciplinary approaches are applied.
1. Introduction: DPR (1998-2000) & HRAD (2004-2006) Conclusions [1]
The fieldwork Phase I (DRP) was undertaken over three years (1998-2000), focussing on the areas of Prophet Elias and Mana. A survey of the area was carried out to record essential environmental data and signs of ancient anthropic activity. Gallery mines, for the extraction of iron mineral, were in use until the eighteenth century, and were probably already in use in antiquity. Surface cleaning was conducted using the ‘neutral method’ [Anati 1977] and the state of conservation of the engraved rocks determined. The engravings have been recorded by frottage technique (the pronounced roughness of the surfaces has caused unsatisfactory results) and tracing on PVC standard sheets (90 x 1.20cm). The engraving techniques are recognised as ‘hard pecking’ at Prophet Elias and ‘filiforme’ at Mana. A preliminary conclusions were publish in Bulletin Centro Camuno Studi Preistorici (BCSP: 31/32).
The next step, Phase II (HRAD), was tried to verify the hypothesis proposed by Dimitriadis (1999) concerning the possibility that the Prophet Elias area was an open-air sanctuary of the Hedones has been tested. Exposing more of the known engraved rocks and completing the tracing of all the carved rocks on sheets has revealed more carvings. Such conclusions are going to implement Phase I risk and hazardous study published in ARKEOS: 16.
1.1 New Discoveries
George Dimitriadis
HERAC, Philippi-Greece, mailto:g.dimitriadis@herac.gr
George Iliades,
IPT-UTAD, Portugal, gsiliadis@yahoo.gr
Abstract. As demonstrate during the financed research projects (DRP, 1998-2000 and HRAD, 2004-2006) the rock engravings in the region of Philippi were probably carved by the Hedones, a Thracian tribe that occupied the lands stretching between the Strymon and Nestos rivers and from Mt. Pangaion to the Rodopi mountain chain. The archaeological evidence suggests a dynamic culture and religious transformation process of an organized society in transition between Late Bronze Age and Early Iron Age. Both archaeological expeditions were organized in an interdisciplinary research platform including not only rock art documentation but also landscape survey, ethnological investigation, pollen and vessel analysis. Special pilot projects are still going on focusing the attention to special petroglyphs as the horse-rider figure which emerging as a standard regional feature and presented in all the open air sanctuaries of Eastern Macedonia. A typological schedule is made and an ethnological comparison research is in progress. The present paper presenting the preliminary state of the research.
Keywords: Eastern Macedonia, ethnology, horse-rider, open air sanctuaries, rock art.
Ground.
The rock art of Philippi was studied and presented to scholars in several single signed papers [Dimitriadis 1999b, 2000c, 2001c, 2004p, 2004g, 2005m, 2006n, 2006o]. Most of them were basically a state of the research overview [Dimitriadis 1997, 1999a, 2004m, 2004o] and the rest explain the documentation, preservation and restoration action as well as the museum culture dissemination strategies undertaken the last years [Dimitriadis 2000d, 2004p, 2006n, 2006o]. The present paper establish the turn point of the future research program where thematic and interdisciplinary approaches are applied.
1. Introduction: DPR (1998-2000) & HRAD (2004-2006) Conclusions [1]
The fieldwork Phase I (DRP) was undertaken over three years (1998-2000), focussing on the areas of Prophet Elias and Mana. A survey of the area was carried out to record essential environmental data and signs of ancient anthropic activity. Gallery mines, for the extraction of iron mineral, were in use until the eighteenth century, and were probably already in use in antiquity. Surface cleaning was conducted using the ‘neutral method’ [Anati 1977] and the state of conservation of the engraved rocks determined. The engravings have been recorded by frottage technique (the pronounced roughness of the surfaces has caused unsatisfactory results) and tracing on PVC standard sheets (90 x 1.20cm). The engraving techniques are recognised as ‘hard pecking’ at Prophet Elias and ‘filiforme’ at Mana. A preliminary conclusions were publish in Bulletin Centro Camuno Studi Preistorici (BCSP: 31/32).
The next step, Phase II (HRAD), was tried to verify the hypothesis proposed by Dimitriadis (1999) concerning the possibility that the Prophet Elias area was an open-air sanctuary of the Hedones has been tested. Exposing more of the known engraved rocks and completing the tracing of all the carved rocks on sheets has revealed more carvings. Such conclusions are going to implement Phase I risk and hazardous study published in ARKEOS: 16.
1.1 New Discoveries
Prophet Elias area: During the thorough cleaning and stratigraphic exploration of area B1, a pit-hole full of darkish terrain was excavated. In the laboratory Carmelo Prestipino (IISL) has determined the presence of charcoal in the terrain. Fragments of dark and red coarse ceramic vessels have been dated to the Late Bronze Age after optical examination by Andrea Vianello (Oxford University). These conclusions agree with the evaluation of the rock art style examined by George Dimitriadis (HERAC). Fernando Coimbra (UAL) has discovered a new carving, labelled the Philippi Horse [Figure 1]. It is a small horse, in naturalistic style, found during the opening of a new sector of rock at Philippi/Prophet Helias Φ/B.2, and studied by George Dimitriadis. The mounted figures are also being studied by George Iliades (UTAD).
Three new rocks in locality Mana (Μάνα Φ/B.2, B.3, B.4-Eiv) have been discovered after Mr Stelios Foustopoulos recognised engravings on a rock. Mana is located in a strategic position along old mountain passages that connect the small valley of Mesorema to the Plain of Philippi. The geomorphology of rock Μάνα Φ/B.1 is under study by Daniela Cardoso (Museum Martins Sarmento-Portugal) so as to establish the future conservation work required. The Μάνα Φ/B.1 panel contains quartzite inclusions, with clear signs of its removal around them. Rocks Μάνα Φ/B.2, B.3 and B.4 have only been partly unearthed and sheet-tracing is therefore still on-going. The geomorphology of the rocky surfaces is quite different from the Prophet Elias area, and composed of grey marble and gneiss inclusions.
During the 2006 fieldwork season Andrea Vianello and Davide Delfino (IISL) attempted a photogrammetric and GIS survey of the rocks. GIS software packages were also used. A fixed frame (0.60 x 0.80m) was used as reference as it proved impossible to use specialist equipment because of the uneven nature of the terrain. Particular care was taken to maintain the carvings under adequate natural light; the photographs were therefore taken in batches over a period of seven days. The resulting photographs will require substantial post-processing, and are intended to become in their own right a research tool and aids to experimentation and further study of the carvings in their original context.
1.1. Open Questions
With the conclusion of HRAD (2004-2006) mission different questions were blow up. We should mention the most critic one: 1. Become more pressing to apply a deeper geomorphological analysis in the area. The presence of quartzite inclusions in the rocky surfaces of Philippi/Mana R.1 (Φ/Μάνα B.1) and their strictly link with filiform scraps made by metallic pointer could be an intriguing emerging scenario [cf. Figure 2]. Besides, the evidences of a pit hole, including remains of burned clay, nearby Philippi/Prophet Helias R.1 (Φ/Πρ.Ηλίας B.1) support our theory [Dimitriadis et alii. 2007]. 2. The discover of new rocky surfaces along seasonal paths which links low fields with up lands and the hill picks enlarge our capacity to collect the “identity” of the landscape [Figure 3]. 3. the presence of a new naturalistic horse figure on Philippi/Prophet Helias R.2, external panel (Φ/Πρ.Ηλίας B.2 εξωτερικός τομέας) enrich thematic variants and complicate temporal frame [Figure 4].
2. A Concise History of Ethnoarchaeology in Greece
In Greece the first ethnographic attempt was undertaken by Casson (1938) in order to reconstruct the modern commercial web in Aegean Sea. Studying the commercial status in Greece during the first decade of the XX century and comparing it with the EBA and Classic times he concludes that the differences are still minimum. To support his thesis present as justification the itinerant vessels merchant system established in Cyprus, Chalkida, Same, Skyros, Corfù and Chanak-Kale. During 70s Matson (1972) propose an historical approach in vessels craft productions in a small group of villages: Vounaria, Komvi and Petriade in Peloponnesus in Southern Greece. In the specific he studied the traditional handmade vase techniques and compare them with the unearth pottery collected during the archaeological excavations in the area. Unfortunately in spite of his good proposals he couldn’t be able to give a synthesis of the research.
The approach of Warren in 1978 was adherent to formalism: it presented the resemblance between "pilgrim flasks", in order that him reports, that is manufactured in the Thrakapso and certain similar Cretan vessels that are dated in copper age. This comparative method, particularly promoted also from the Greek experts, does not prove cultural continuity, after such simple forms are found and in other cultures. "Pilgrim flasks" they are also manufactured by artisans of Dierba in Northern Africa [Betancourt 1984]. More recently, ethnographic descriptions of M. Vojatzoglou and X. Blitzer (1984) with regard to the ceramic production in the Thrapsano and the Kentri of Crete respectively, were used by the Betancourt for the interpretation of Minoan ceramics. Economic, social and professional status of the artisan could be expressed in any moment of his production. Betancourt, however, recognizes that dangers included in ethno archaeology behaviour and he stress to study the technological aspect of ceramic production in order to obtain solid conclusions for the past.
The work of X. Blitzer (1990) for the pastoral life in the mountains of Crete is important as for that it does not deal only with the production of ceramics, but tries him it adapts in the environment that functions. It deals with functional, economic and negative behaviour of ceramics in the present extensively, and in him it possesses it tries him it applies in the past. By this way it put ceramics in their real dimension: do not constitute simply the products of concrete laboratory with concrete decoration, or still the containers of trade of big scale, but are anymore used daily by persons with a concrete way that deserves it is studied and that can for us provide precious information on the archaeological interpretation. Moreover, it was moved in a direction that she allowed avoiding the study of ceramic (but also the society, as direct consequence) as something static and immutable during the time. It re-defined historical parallels with regard to the production and the trade of messinian ceramics, underlining the faculty of change but simultaneous continuity in the ceramic deliveries of region. Such methodology helps him to exceeded a methodological error that is inherent in the ceramic studies on Greece, or takes place from Greek or international experts: the present is connected directly with the classic antiquity, forgetting the existence of Byzantine empire or Ottoman possession in between.
Besides the London (1991) in her study on the Cypriot ceramics follows an environmental directed method. It locates what sources of clay, in combination with the techniques of manufacture, they can they decide if a concrete ceramic category had one or a lot of points of production, and give information concerning the economic relations (trade). An other sector that is profited by ethnographic study is the one that concerns the system of classification. In the same study London showed that the knowledge of ceramic technology that is based on ethnographic study can help archaeologists to categorize the ceramics without adopt evaluative positions, after entire vessels or even splinters can present correlations between artefacts and persons.
3. Study Case: Horsemen rock art figure at Philippi.
A preliminary attempt to study horsemen figure was undertaken with the conclusion of Phase I which partial target was to classify such figures and establish an hypothetical stylistic timeline evolution. [cf. Table I]. Single figures (circa 33) were count and statistic evaluations made: horsemen account just 11 per cent (11.15%). If the quantity data are too low how can we discuss it in an qualitative perspective? How adherent are such data with the preliminary hypothesis?
Few open question was host during Phase II correlated by landscape survey and ethnological data collected in the area [cf. Chapter 3.1.]. The horse rider figure becoming dominant as dominant was the fever for metals: the unearth power is equal to the horse rider heroic figure in an open air landscape modelled since the first attestation of the metallurgy in the area (c. 4th millennium BP; Sherratt 1986: 435-437] and the culture atmosphere enlarged up to Afghanistan uplands [Doumas 1994: 29) which is the principal metal provider (block tin and lapis lazuli) for the North Aegean area [Pernicka et alii 1990: 290].
3.1. Brief exposition of ethno-archaeological material*
According to the Greek mythology, the eighth command that gave Eurystheas to Hercules was to bring him lively the horses of Diomides. Diomides was son of Mars and Kyrinis and reigned in a wild and warrior population called Vistones living in Thrace. The Vistones lived round a lake that had taken their name by the Vistonice Lake. Diomides had four irrationally strangely female horses, been famous for their ferocity: Podagros, Shining, Blond and Terrible. These horses ate hay and grass only those human fleshes. When foreigners reached in the kingdom of Diomides, this one killed them and threw their pieces in the cupreous crib of horses. Also his servants were victim of his ferocity when he wanted to punishes them. The fable informs us that the ferocity of horses was emanated from the water that drinks from Kossinity River that was poured Vistonice Lake. Hercules accomplished it seizes the horses and kills Diomides. However, as price of this his energy, it lost his good friend and hero Avdiro, which was eaten by the horses. To perpetuate Avdiros memory Hercules found the Thracian ancient city of Avdira.
Similar fable with wild horses, we meet also in an other Thracian race called Hedones, race that lived from the estuaries of Strimonas until the valley of Nestos. Lykourgos, the king of Hedones opposed in the adoration of Dionysus, attacked in the Vakhes of his sequence and up to that threatened the life of himself god. Dionysus in order to revenges him led in it loses his reasons and himself his child, believing that he prunes a vine. Then Hedones tied him up above in their mountain Panghaio, where eaten by wild horses.
The description of horses and their placement in the regions where delimitated geographically around Thrace region is significant. Outstanding of frames of fabulous time and place, “Horse” figure were imported in Thrace between 8th-7th century b. C. probably from the Siberian steppes [Powel 1971] as an early use of horse in fight actions.
In the Byzantine years the iconographic nomenclature of Thracian horseman engages Christian characteristics. The most frequent pattern is horseman/snake (=dragon)/tree carrying out an underworld symbolism [Figure 5]. Indeed, Thracian horsemen identified during the time with Saint George and such combination perpetuates in all Balkan area. Characteristic is the example that presented in Saint George open air church in Zabernovo of Bulgaria where residents identify column with the Thrace-Horseman as representation of Saint George [Figure 6] which is reported as “saint warrior” in the intellectual army of Christ [Walter 1987]. Similar reports we meet also in the village Agathoupoli of Eastern Thrace.
References
Collart, P.
1932.”Philippes, Ville de Macedoine”. E. DE Boccard, Paris
Dimitriadis G.,
1997 L’arte rupestre ellenica: nuove prospettive, Valcamonica Symposium, Iseo, Italy.
1999a. L’arte rupestre ellenica: nuove prospettive, BCSP, 31-32.
1999b. Alla periferia della grecità: l’arte rupestre degli Edoni Traci, Valcamonica Symposium,
Darfo-Boario Terme, Italy.
2000c. The Rock Art of Hedones in “The Rock Art on Philippi’s hills”, Philippi.
2000d. Ecomuseum of Rock Art: A reality to support, AURA Congress, Camberra, Australia.
2001c. Arte Rupestre Mediterranéo: el ejemplo del arte rupestre helénico, BARA, Spain.
2004m. Arte Rupestre Ellenica: Novità e Confronti. Approfondimenti nel Centro e NordEst dell’Egeo attraverso l’archeologia cognitiva, XXVII Valcamonica Symposium, Darfo-Boario Terme, Italy.
2004o. Prima della Grecia classica. L’arte rupestre della Penisola Ellenica, CeSMAP Metting, Pinerolo, Italy.
2004p. Rock Art Ecomuseum of Philippi. A Night Lighting Application Proposal (co-author Iliades Y.), CeSMAP Meeting, Pinerolo, Italy.
2005g. Small Greek Caravels on the rocks. An Unknown Sail History in the Mediterranean Sea, 9th HIPNT Congress, Cyprus.
2005m. Hellenic Rock Art. Cupmarks Configurations and Patterns, IV Annual Schematic Rock Art Workshop, Saviore dell’Adamello-Valcamonica, Italy.
2006n. (in press). Planning an open air rock art museum. The case of Philippi, Grecce. Proceedings of the XV UISPP Congress, Workshop 19.
Dimitriadis, G. et alii.
2006o. (in press), (co-authors Coimbra F., Prestipino C., Mailland I.). Philippi Rock Art. Guidelines for a Methodological Recovery and Preventive Action Proceedings of the XV UISPP Congress, Colloquium WS20.
2007. Post-Palaeolithic engravings at Philippi in eastern Macedonia, Greece: rock art in the land of the Hedones. In "Antiquity" 81 (311), March 2007.
Doumas, Ch. 1994. Η πυροτεχνολογία στη Λήμνο της Πρώϊμης Εποχής του Χαλκού. “Αρχαιολογία” 50: 28-30.
Kallintzis, K.
2003 “Thracian Kings from Strymonas to Ismaros”Peri Thrakis vol. 3 p. 42-65. Cultural and Development Center of Thrace, Xanthi
Kakridis, I.
“Hellenic Mythology Vol. 3 The Heroes. Ekdotiki Athinon A.E. Athens
Koukouli-Xrysanthakaki X., Malamidou, D.
1989. “The Sanctuary of Hero Auloneites on Mt. Pangaion. To Arxaiologiko Ergo stin Makedonia kai Thraki, vol. 3 p.553-564. Ministry of Macedonia and Thrace, Ministry of Culture, Thessaloniki
Kourtidis, K.
1932. “History of Thrace, From The Antiquity Till 46 AD”. Aleuropoulos, Athens
Lazaridis, D.
1973. “Philippi-Roman Settlement”. Athens Center Of Ekistics. Athens
Pernicka, E. et alii, 1990. On the Composition and Provenance of Metal Artefacts from Poliochni on Lemnos. OxfJA 9, 3: 263-298.
Sherratt, A.G. 1986. The Pottery of Phasese IV and V: The Early Bronze Age. In. Renfrew, C. et alii (Eds). Excavations at Sitagroi. A Prehistoric Village in Northeastern Greece. Monumenta Archaeologica 13,1: 429-476, Los angeles, University of California.
Tsohos, C.
2003. “The Religious Topography of Philippi In The Second And Third Centuries”. To Arxaiologiko Ergo stin Makedonia Kai Thraki vol. 17 p.71-85. Ministry Of Culture, Aristotle University Of Thessaloniki. Thessaloniki
Walter, C.
1987 “The Thracian Horseman: Ancestor of The Warriors Saints”. First International Symposium for Thracian Studies. Komotini, May 28th-31st 1987
[1] Full draft is hosted in http://www.antiquity.ac.uk/ProjGall/311.html
*Schedule prepared by George Iliades.
Three new rocks in locality Mana (Μάνα Φ/B.2, B.3, B.4-Eiv) have been discovered after Mr Stelios Foustopoulos recognised engravings on a rock. Mana is located in a strategic position along old mountain passages that connect the small valley of Mesorema to the Plain of Philippi. The geomorphology of rock Μάνα Φ/B.1 is under study by Daniela Cardoso (Museum Martins Sarmento-Portugal) so as to establish the future conservation work required. The Μάνα Φ/B.1 panel contains quartzite inclusions, with clear signs of its removal around them. Rocks Μάνα Φ/B.2, B.3 and B.4 have only been partly unearthed and sheet-tracing is therefore still on-going. The geomorphology of the rocky surfaces is quite different from the Prophet Elias area, and composed of grey marble and gneiss inclusions.
During the 2006 fieldwork season Andrea Vianello and Davide Delfino (IISL) attempted a photogrammetric and GIS survey of the rocks. GIS software packages were also used. A fixed frame (0.60 x 0.80m) was used as reference as it proved impossible to use specialist equipment because of the uneven nature of the terrain. Particular care was taken to maintain the carvings under adequate natural light; the photographs were therefore taken in batches over a period of seven days. The resulting photographs will require substantial post-processing, and are intended to become in their own right a research tool and aids to experimentation and further study of the carvings in their original context.
1.1. Open Questions
With the conclusion of HRAD (2004-2006) mission different questions were blow up. We should mention the most critic one: 1. Become more pressing to apply a deeper geomorphological analysis in the area. The presence of quartzite inclusions in the rocky surfaces of Philippi/Mana R.1 (Φ/Μάνα B.1) and their strictly link with filiform scraps made by metallic pointer could be an intriguing emerging scenario [cf. Figure 2]. Besides, the evidences of a pit hole, including remains of burned clay, nearby Philippi/Prophet Helias R.1 (Φ/Πρ.Ηλίας B.1) support our theory [Dimitriadis et alii. 2007]. 2. The discover of new rocky surfaces along seasonal paths which links low fields with up lands and the hill picks enlarge our capacity to collect the “identity” of the landscape [Figure 3]. 3. the presence of a new naturalistic horse figure on Philippi/Prophet Helias R.2, external panel (Φ/Πρ.Ηλίας B.2 εξωτερικός τομέας) enrich thematic variants and complicate temporal frame [Figure 4].
2. A Concise History of Ethnoarchaeology in Greece
In Greece the first ethnographic attempt was undertaken by Casson (1938) in order to reconstruct the modern commercial web in Aegean Sea. Studying the commercial status in Greece during the first decade of the XX century and comparing it with the EBA and Classic times he concludes that the differences are still minimum. To support his thesis present as justification the itinerant vessels merchant system established in Cyprus, Chalkida, Same, Skyros, Corfù and Chanak-Kale. During 70s Matson (1972) propose an historical approach in vessels craft productions in a small group of villages: Vounaria, Komvi and Petriade in Peloponnesus in Southern Greece. In the specific he studied the traditional handmade vase techniques and compare them with the unearth pottery collected during the archaeological excavations in the area. Unfortunately in spite of his good proposals he couldn’t be able to give a synthesis of the research.
The approach of Warren in 1978 was adherent to formalism: it presented the resemblance between "pilgrim flasks", in order that him reports, that is manufactured in the Thrakapso and certain similar Cretan vessels that are dated in copper age. This comparative method, particularly promoted also from the Greek experts, does not prove cultural continuity, after such simple forms are found and in other cultures. "Pilgrim flasks" they are also manufactured by artisans of Dierba in Northern Africa [Betancourt 1984]. More recently, ethnographic descriptions of M. Vojatzoglou and X. Blitzer (1984) with regard to the ceramic production in the Thrapsano and the Kentri of Crete respectively, were used by the Betancourt for the interpretation of Minoan ceramics. Economic, social and professional status of the artisan could be expressed in any moment of his production. Betancourt, however, recognizes that dangers included in ethno archaeology behaviour and he stress to study the technological aspect of ceramic production in order to obtain solid conclusions for the past.
The work of X. Blitzer (1990) for the pastoral life in the mountains of Crete is important as for that it does not deal only with the production of ceramics, but tries him it adapts in the environment that functions. It deals with functional, economic and negative behaviour of ceramics in the present extensively, and in him it possesses it tries him it applies in the past. By this way it put ceramics in their real dimension: do not constitute simply the products of concrete laboratory with concrete decoration, or still the containers of trade of big scale, but are anymore used daily by persons with a concrete way that deserves it is studied and that can for us provide precious information on the archaeological interpretation. Moreover, it was moved in a direction that she allowed avoiding the study of ceramic (but also the society, as direct consequence) as something static and immutable during the time. It re-defined historical parallels with regard to the production and the trade of messinian ceramics, underlining the faculty of change but simultaneous continuity in the ceramic deliveries of region. Such methodology helps him to exceeded a methodological error that is inherent in the ceramic studies on Greece, or takes place from Greek or international experts: the present is connected directly with the classic antiquity, forgetting the existence of Byzantine empire or Ottoman possession in between.
Besides the London (1991) in her study on the Cypriot ceramics follows an environmental directed method. It locates what sources of clay, in combination with the techniques of manufacture, they can they decide if a concrete ceramic category had one or a lot of points of production, and give information concerning the economic relations (trade). An other sector that is profited by ethnographic study is the one that concerns the system of classification. In the same study London showed that the knowledge of ceramic technology that is based on ethnographic study can help archaeologists to categorize the ceramics without adopt evaluative positions, after entire vessels or even splinters can present correlations between artefacts and persons.
3. Study Case: Horsemen rock art figure at Philippi.
A preliminary attempt to study horsemen figure was undertaken with the conclusion of Phase I which partial target was to classify such figures and establish an hypothetical stylistic timeline evolution. [cf. Table I]. Single figures (circa 33) were count and statistic evaluations made: horsemen account just 11 per cent (11.15%). If the quantity data are too low how can we discuss it in an qualitative perspective? How adherent are such data with the preliminary hypothesis?
Few open question was host during Phase II correlated by landscape survey and ethnological data collected in the area [cf. Chapter 3.1.]. The horse rider figure becoming dominant as dominant was the fever for metals: the unearth power is equal to the horse rider heroic figure in an open air landscape modelled since the first attestation of the metallurgy in the area (c. 4th millennium BP; Sherratt 1986: 435-437] and the culture atmosphere enlarged up to Afghanistan uplands [Doumas 1994: 29) which is the principal metal provider (block tin and lapis lazuli) for the North Aegean area [Pernicka et alii 1990: 290].
3.1. Brief exposition of ethno-archaeological material*
According to the Greek mythology, the eighth command that gave Eurystheas to Hercules was to bring him lively the horses of Diomides. Diomides was son of Mars and Kyrinis and reigned in a wild and warrior population called Vistones living in Thrace. The Vistones lived round a lake that had taken their name by the Vistonice Lake. Diomides had four irrationally strangely female horses, been famous for their ferocity: Podagros, Shining, Blond and Terrible. These horses ate hay and grass only those human fleshes. When foreigners reached in the kingdom of Diomides, this one killed them and threw their pieces in the cupreous crib of horses. Also his servants were victim of his ferocity when he wanted to punishes them. The fable informs us that the ferocity of horses was emanated from the water that drinks from Kossinity River that was poured Vistonice Lake. Hercules accomplished it seizes the horses and kills Diomides. However, as price of this his energy, it lost his good friend and hero Avdiro, which was eaten by the horses. To perpetuate Avdiros memory Hercules found the Thracian ancient city of Avdira.
Similar fable with wild horses, we meet also in an other Thracian race called Hedones, race that lived from the estuaries of Strimonas until the valley of Nestos. Lykourgos, the king of Hedones opposed in the adoration of Dionysus, attacked in the Vakhes of his sequence and up to that threatened the life of himself god. Dionysus in order to revenges him led in it loses his reasons and himself his child, believing that he prunes a vine. Then Hedones tied him up above in their mountain Panghaio, where eaten by wild horses.
The description of horses and their placement in the regions where delimitated geographically around Thrace region is significant. Outstanding of frames of fabulous time and place, “Horse” figure were imported in Thrace between 8th-7th century b. C. probably from the Siberian steppes [Powel 1971] as an early use of horse in fight actions.
In the Byzantine years the iconographic nomenclature of Thracian horseman engages Christian characteristics. The most frequent pattern is horseman/snake (=dragon)/tree carrying out an underworld symbolism [Figure 5]. Indeed, Thracian horsemen identified during the time with Saint George and such combination perpetuates in all Balkan area. Characteristic is the example that presented in Saint George open air church in Zabernovo of Bulgaria where residents identify column with the Thrace-Horseman as representation of Saint George [Figure 6] which is reported as “saint warrior” in the intellectual army of Christ [Walter 1987]. Similar reports we meet also in the village Agathoupoli of Eastern Thrace.
References
Collart, P.
1932.”Philippes, Ville de Macedoine”. E. DE Boccard, Paris
Dimitriadis G.,
1997 L’arte rupestre ellenica: nuove prospettive, Valcamonica Symposium, Iseo, Italy.
1999a. L’arte rupestre ellenica: nuove prospettive, BCSP, 31-32.
1999b. Alla periferia della grecità: l’arte rupestre degli Edoni Traci, Valcamonica Symposium,
Darfo-Boario Terme, Italy.
2000c. The Rock Art of Hedones in “The Rock Art on Philippi’s hills”, Philippi.
2000d. Ecomuseum of Rock Art: A reality to support, AURA Congress, Camberra, Australia.
2001c. Arte Rupestre Mediterranéo: el ejemplo del arte rupestre helénico, BARA, Spain.
2004m. Arte Rupestre Ellenica: Novità e Confronti. Approfondimenti nel Centro e NordEst dell’Egeo attraverso l’archeologia cognitiva, XXVII Valcamonica Symposium, Darfo-Boario Terme, Italy.
2004o. Prima della Grecia classica. L’arte rupestre della Penisola Ellenica, CeSMAP Metting, Pinerolo, Italy.
2004p. Rock Art Ecomuseum of Philippi. A Night Lighting Application Proposal (co-author Iliades Y.), CeSMAP Meeting, Pinerolo, Italy.
2005g. Small Greek Caravels on the rocks. An Unknown Sail History in the Mediterranean Sea, 9th HIPNT Congress, Cyprus.
2005m. Hellenic Rock Art. Cupmarks Configurations and Patterns, IV Annual Schematic Rock Art Workshop, Saviore dell’Adamello-Valcamonica, Italy.
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2006o. (in press), (co-authors Coimbra F., Prestipino C., Mailland I.). Philippi Rock Art. Guidelines for a Methodological Recovery and Preventive Action Proceedings of the XV UISPP Congress, Colloquium WS20.
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[1] Full draft is hosted in http://www.antiquity.ac.uk/ProjGall/311.html
*Schedule prepared by George Iliades.
CAPTIONS
Figure 1: πρ. Ηλίας Φ/Β.2-Εiv, Philippi. Tracing of Philippi’s naturalistic “Horse”. Tracing G. Dimitriadis. © HERAC.
Figure 2: Μάνα Φ/Β.1-Εiv, Philippi. Geomorphological view of the rocky surface. A quartzite inclusion and striations can be notice. Photo: G. Dimitriadis © HERAC.
Figure 3: Μάνα Φ-Εiv, Philippi. Environment paramount view of the “Mesorema” valley. Photo: G. Dimitriadis © HERAC.
Figure 4: πρ. Ηλίας Φ/Β.2-Εiv, Philippi. A Hedones weapon collection. Photo: G. Dimitriadis © HERAC.
Figure 5: Mt. Panghaion, Greece. Thracian “Horse Hero” statue stelae. Note the snake twisted on the tree trunk. Photo: G. Iliades.
Figure 6: Mosaic Icon. Saint George. Constantinople, early 14th Century, miniature mosaic, (gold- and silver-plated rods, marble, and glass chips embedded in wax and mastic) on wood panel, copper frame (modern), 8 5/8 inches in diameter. © Musée du Louvre, Paris.
Table I: Horse-rider typological & date preliminary schedule. The sample is coming from the sites: 1. πρ. Ηλίας Φ-Eiv, Philippi; 2. Μάνα Φ-Eiv, Philippi. © G. Dimitriadis.
Table I: Horse-rider typological & date preliminary schedule. The sample is coming from the sites: 1. πρ. Ηλίας Φ-Eiv, Philippi; 2. Μάνα Φ-Eiv, Philippi. © G. Dimitriadis.
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