DOCSLIB.ORG

VIKING Tidsskrift for Norrøn Arkeologi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
VIKING Tidsskrift for Norrøn Arkeologi VIKING Tidsskrift for norrøn arkeologi Bind XXVI OSLO 1963 UTGITT AV NORSK ARKEOLOGISK SELSKAP Redal,sjon: BJØRN HOUGEN- IRMELIN MAl{TENS Klisjeene fra A/S Kristiania Klieheanstalt, Oslo Trykt i A. W. Brøg;gers Boktrykkeri A/S, Oslo INNHOLD Side Bjørn Hougen: Harry Fett . 5 H. P. L'Orange: En senantikk keiserinnestatue i det Norske Institutt i Ron1a . 9 Charlotte Blindheim: Smedgraven fra Bygland i Morgedal. 25 The Smith's Grat'e at Bygla~~d inlvforgedal, Telemark Co11nty, Norway, 61-63 Kolbjørn Skaare: Angelsaksiske mynter- i britisk mynthistorie og i norske vikingtidsfunn . 81 Anglo-Saxo11 Coins - in the History of British Coinage and in Nonvegim1 Viking Age Finds, 119-122 Sverre Marstrander: Et nytt vikingetidsfunn fra Romsdal rned vest- europeiske importsaker . 123 Paper p11blished in "Lochlann" Vol. Ill (Norsk Tidsskrift for Sprog1'idenskap, Suppl. Vol. VIII, pp. 1-35) Dorothea Fischer: Tyldalstolen . 161 The Ty/dal Chair, 176-177 Povl Simonsen: Bygdesentrum og utvær i nordnorsk bosetningshistorie 179 Sonte Fm·tors Injlllencing tite History of tite Settlement mtd Pop11lation o( Nortltem N01way, 189-190 Anne Stine lngstad og Irmelin Martens: Om avguder, utdødde bevingete dyr og andre arkeologiske merkverdigheter . 191 Norsk Arkeologisk Selskap. Styrets :~rsberetning 1%2 og reguskap 196] 20J Bjørn Hougen: HARRY FETT Bak antikvitetene var historien og bak historien ntell­ neskene og bak menneskene sin det sott gjorde alt letJende og lmmant. Harry Fett (i På Kulturvernets veier). _Med Harry Fett er den siste av en stor generasjon av kunst- og kultur­ forskere i vårt land gått bort. «Vernerne» er titelen på en av Harry Fetts beste mindre avhandlinger, og ordet kan godt brukes om alle dem jeg her særlig tenker på: Anders Sandvig, Hans Aall, Jens Thiis, G. F. Hei­ berg, Th. Petersen, Hans Dedekam, Harry Fett, Haakon Shetelig, Carl W. Schnitler og A. W. Brøgger. A tale om et slektledd strengt genealogisk sett er nok litt slurvet. Eldstemann i laget, Sandvig, ble født 1864, den yngste, Brøgger, 1884. Men de fleste av dem hadde det til felles at de gjorde seg gjeldende i ung alder og at deres viktigste innsats i modnere år faller så noenlunde samtidig - med en rommelig margin. Så steilt de kunne stå mot hverandre i faglige spørsmål, som f. eks. Dedekam og Schnitler i striden om Vigelandsanlegget (begge disse døde før de hadde fylt 60 år) er det betegnende at de alltid - eller nesten alltid - holdt et godt kollegialt forhold og aldri forblandet person og sak. De kunne være kvasse i sin karakteristikk, ikke bare av andre, men også av hver .... andre, men det brøt ikke et kameratskap (ikke å forveksle med kame­ raderi) som for flere av dem var et nært personlig vennskap. Når dette fremheves er det fordi hele kretsen og ikke minst Harry Fett selv var så opptatt av dette. Gang på gang kommer han inn på det i sine erind­ ringer På kulturvernets veier. I konsentrert form fikk jeg det son1 takk for en hilsen jeg hadde sendt ham til 80 årsdagen: «Og er det noe jeg håper vi kan overlate til neste generasjon, så er det er godt samarbeide. 5 Kultur er i virkeligheten et tean1 work. Jeg hadde nær sagt - uten det, ingen kultur>>. En dyrebar arv har vi her å forvalte. I sitt livsverk var Harry Fett en nesten ufattelig samn1ensetning av sjef for en stor bedrift, av kulturverner, ikke bare n1ens han var riks­ antikvar, Inen både før og senere, av vitenskapstnann og skribent på de utroligste felter innen- og utenfor sitt fag, 111en alltid innenfor sin nesten grenseløse interessesfære. Kanskje kunne det falle en og annen inn at denne spennvidden kunne ron1n1e nesten uforenlige n1otsetninger - tan­ ken har neppe noen gang vært et problen1 for han1 selv. Et typisk ut­ slag av kon1binasjonen fabrikkeier og kunsthistoriker er bevegelsen Kunst på arbeidsplassen, son1 han satte i gang i sin egen bedrift 1-Iøien­ hall Fabriker og sotn senere ved hans og 111edarbeideres virke er vokset fren1 ti] en otnfattende organisasjon. Han elsket bøker og hadde i sitt vakre og sterkt personlig pregede hjen1 Christinedal blant andre kunstskatter også en utsøkt boksamling, til dels n1eget sjeldne saker. Men han satnlet på bøker, ja i grunnen ikke så 111eget for å satnle, 111en for å lese den1. Og det var vel hele dette sjeldne konglomerat av bedriftsherre, en1bets1nann, vitenskapsn1ann og skribent son1 gjorde at han helst ville kalles og selv kalte seg dr. Fett uten andre titler. Han ville først og fren1st være akaden1iker, n1en en meget util­ støvet akaden1iker. Det har vært sagt så ofte og 111ed rette at blant Harry Fetts Inange og store fortjenester er at han i utforskningen av vår n1iddelalder løftet billedkunsten opp fra et noe tørt antikvarisk til et levende kunsthistorisk plan. Men den situasjon han gjorde det i var nesten paradoksal, men typisk for Harry Fett. Son1 ung n1ann var han like etter århundreskiftet 1ned på palassrevolusjonen i Foreningen til norske fortidsn1innesmerkers bevaring. Son1 en historisk nødvendighet ble den forhistoriske arkeo­ logi skjaltet helt ut av foreningens virke, og også tniddelalderen kom for en tid nokså tneget i bakgrunnen, det var den etterrefonnatoriske tid 6 son1 nu kon1 fren1 i søkelyset. Harry Fett var sterkt n1ed i denne be­ vegelsen og hans uvisnelige kjærlighet til norsk barokk skriver seg vel fra denne tiden. Men det var den sa111111e Harry Fett son1 få år senere (1908) tok doktorgraden på det skjelsettende arbeide Billedhugger­ kunsten i Norge under Sverreætten. Betegnende for Harry Fett er at han aldri så arkeologi og kunsthistorie son1 noen 111otsetninger, n1en son1 skudd på san1111e tre. I vår tid er det - eller bør være - en selvfølge, i brytningsårene ble det av og til sett son1 n1otpoler. I vårt fag - både den forhistoriske og n1iddelalderskc arkeologi var han son1 så ofte et bindende ledd. I Knut Han1suns praktfulle dikt til Bjørnstjerne Bjørnsons 70 årsdag er det et vers, som nesten ord til annet kan brukes også 0111 Harry Fett: Alt saa du dig tid til: at rydde at hegne at nære alt tok du paa dig, din bredde var skapt til at bære. Nei sitte og gjøre dig sjælden og aagre en dag m_ed dit navn? Du gav det til pris for hver ravn. Du hadde slik ra ad til det 1nester, du hadde saa bredfuld en favn. Og ravner var det nok av også når det gjaldt Harry Fett, særlig i den skarpe strid før han ble riksantikvar. Men ellers også. Og det lar seg ikke nekte de har rett son1 hevder at det var 111ange villskudd i hans vitenskapelige og essayistiske hage. Men et stort 111enneskes ettern1æle skal først og fremst dømmes ut fra det positive og ikke det negative, hvis det negative ikke har hatt skadevirkninger - og det har vel ingen våget å si om Harry Fett. Lenge etter at villskuddene er visnet står de store veksterlige trær igjen. 7 H. P. L'Orange EN SENANTIKK KEISERINNESTATUE I DET NORSKE INSTITUTT I ROMA Tale ved Roma-Instituttets innvielse 15. 10. 1962. Oversatt fra italiensk. V ed innvielsen av vårt norske institutt i Ron1a burde de forskninger som drives ved Instituttet få komme til orde, og disse har sin tyngde i den senantikke og tidligmiddelalderske arkeologi og kunsthistorie. Det skulle være fristende å ta opp et stort tema fra dette studieon1råde her i aften, men tiden har fløyet ifra oss og bare noen minutter står oss 1~u igjen. Vi nøyer oss derfor tned en kort presentasjon av et enkelt senantikt monument. Mine ærede tilhørere har allerede da de vandret den ytre trapp opp til vårt hus gjort bekjentskap med det monument jeg vil presentere, og jeg tillater meg å anbefale at de fordyper bekjentskapet når de forlater vårt hus og atter befinner seg på den ytre trapp. Foran oss står på dette sted en kvinnelig statue (fig. 1-3), og denne statue er for oss som arbeider i Det norske institutt noe mer enn en dekorativ figur som fryder vårt øye hver gang vi vandrer opp Instituttets trapp. Statuen er samtidig en symbolsk figur ved selve inngangsporten til vårt studium. Det er nemlig, som vi nu skal vise, ingen ringere enn en senantikk keiserinne som trer frem for oss i denne statue. Det dreier seg om et unicum i det sen­ antikke Romas statuariske kunst. Statuen stammer fra en gammel romersk privatsamling og er en gave fra en av Instituttets stiftere, godseier Treschow, som er til stede her idag og som jeg gjerne vil takke fra denne talerstol. Statue og plint er arbeidet av en eneste marmorblokk. Viktig er at hodet, som er gått tapt, 9 Fig. 1-3. Senantikk keiserinnestatuc i Det norske institutt Roma. Fig. 2. Fig. 3. har vært arbeidet i en blokk for seg og innsatt i statuen. Det er den tradi­ sjonelle romerske fremgangsmåte i portrettstatuer, i motsetning til frem­ gangsmåten i idealstatuer. Det individuelle portretthode ble nemlig arbeidet av en specialisert portrettkunstner og senere innføyet i statuen. Det er altså en portrettskulptur vi har for oss. Statuen er noe mindre enn legemsstor. Den fremstilte står i rolig, avspent holdning, høyre ben er standben, venstre ben er sterkt avlastet. Høyre arm som er gått tapt, var arbeidet i en blokk for seg og satt inn i og boltet til hovedblokken. Armens stilling kan rekonstrueres ut fra de omgivende deler: den var strakt ut til siden og oppad. Sannsynligvis hever hun hånden til en langt hen synlig hilsen, eller hun løfter den i talegestus, i antikkens typiske gestus oratorius. Venstre underarm er fremstrakt, antagelig har hånden holdt en bokrull. Der er en Schwung over hele statuens holdning, en grandezza i denne fremtreden med oppløftet høyre arm, som tydelig indiserer høye pretensjoner.
Load more

Recommended publications
  • Traveling Portals Suspicious Item They Could Find Was His Diary
    by a search the secret police had conducted in his house. The only TRAVelING PORTals suspicious item they could find was his diary. Apparently it did not contain enough evidence to take him to prison, and he even got it Mari Lending back. In an artistic rage, and trying to make sure that his personal notes could not be read again by anyone, he burned his diary. The Master and Margarita remained secret even after his death in 1940, and could not be published until 1966, when the phrase became In the early 1890s, the Times of London reported on a lawsuit on the 1 Times ( London ), more frequently used by dissidents to show their resistance to the pirating of plaster casts. With reference to a perpetual injunction June 2, 1892. state regime. In the early nineties, when the KGB archives were partly granted by the High Court of Justice, Chancery Division, it was 2 Times ( London ), opened, his diary was found. Apparently, during the confiscation, announced that “ various persons in the United Kingdom of Great February 14, 1894. the KGB had photocopied the diary before they returned it to the Britain and Ireland have pirated, and are pirating, casts and models ” author. made by “ D. BRUCCIANI and Co., of the Galleria delle Belle Arti, The best guardians are oftentimes ultimately the ones you would 40. Russell Street, Covent Garden ” and consequently severely vio­ least expect. lated the company’s copyright “ which is protected by statute. ” The defendant, including his workmen, servants, and agents, was warned against “ making, selling, or disposing of, or causing, or permitting to be made, sold, or disposed of, any casts or models taken, or copied, or only colourably different, from the casts or models, the sole right and property of and in which belongs to the said D.
    [Show full text]
  • 12-Death-And-Changing-Rituals.Pdf
    This pdf of your paper in Death and Changing Rituals belongs to the publishers Oxbow Books and it is their copyright. As author you are licenced to make up to 50 offprints from it, but beyond that you may not publish it on the World Wide Web until three years from publication (December 2017), unless the site is a limited access intranet (password protected). If you have queries about this please contact the editorial department at Oxbow Books (editorial@ oxbowbooks.com). Studies in Funerary Archaeology: Vol. 7 An offprint from DEATH AND CHANGING RITUALS Function and Meaning in Ancient Funerary Practices Edited by J. Rasmus Brandt, Marina Prusac and Håkon Roland Paperback Edition: ISBN 978-1-78297-639-4 Digital Edition: ISBN 978-1-78297-640-0 © Oxbow Books 2015 Oxford & Philadelphia www.oxbowbooks.com Published in the United Kingdom in 2015 by OXBOW BOOKS 10 Hythe Bridge Street, Oxford OX1 2EW and in the United States by OXBOW BOOKS 908 Darby Road, Havertown, PA 19083 © Oxbow Books and the individual contributors 2015 Paperback Edition: ISBN 978-1-78297-639-4 Digital Edition: ISBN 978-1-78297-640-0 A CIP record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Brandt, J. Rasmus. Death and changing rituals : function and meaning in ancient funerary practices / edited by J. Rasmus Brandt, Häkon Roland and Marina Prusac. pages cm Includes bibliographical references and index. ISBN 978-1-78297-639-4 1. Funeral rites and ceremonies, Ancient. I. Roland, Häkon. II. Prusac, Marina. III. Title. GT3170.B73 2014 393’.93093--dc23 2014032027 All rights reserved.
    [Show full text]
  • Oseberg Tent Reproduction We Begin by Describing the Original Find from Oseberg, and Some of the Confusion That Exists About the Tents
    A Reproduction of the Smaller Tent from the Viking Age Ship Burial at Oseberg Matthew Marino Rev 1.1 6-June-2008 hurstwic.org The most recent version of this document may be found at: http://www.hurstwic.com/library/how_to/viking_tent.pdf ©2008 Matthew Marino Additional photographs ©2006-2008 William R. Short Contact us at Hurstwic: http://www.hurstwic.com/text/contact_us.htm he Oseberg ship is a rich 9th century Viking age ship burial found at Oseberg in TVestfold, Norway, at the beginning of the 20th century. The burial probably took place around the year 850, and the contents of the grave date from the first half of the 9th century. The ship and her contents were well pre- served by the clay subsoil which provided near hermetic conditions. Thus, an ex- traordinary range of artifacts illustrating Viking age material culture was pre- served. Included in the ship’s contents were the wooden framework for two tents, one larger, one slightly smaller. The Oseberg ship We recently made a reproduction of the smaller tent. This document de- tails our reproduction Viking tent in enough depth to allow others to du- plicate the project. Oseberg tent reproduction We begin by describing the original find from Oseberg, and some of the confusion that exists about the tents. Next, we discuss some of the choices and compromises made in designing our reproduction. Finally, we list the materials and assembly processes used. Dimensions of the components are tabulated and shown in figures. Unless otherwise stated, all dimensions are in centimeters. The Original Find.
    [Show full text]
  • Norwegian Archaeology - Past and Present
    11. Institutions Norwegian archaeology - past and present SVEIN INDRELID Although the distance between Lithuania and Norway is not really large -less than 650 kin at the shortest -the two countries are in several ways very different. Lithuania is a low country, a land of flat plains and rolling hills, while Norway is a mountainous country. About 80°/o of Norway is taken up by mountains and forests. Less than 3°/o is agricultural land, while -according the statistics I have consulted - 49°/o of Lithuania is cultivated fields, and another 22°/o meadows and pasture land. The land area of Norway is about 5 times larger than that of Lithuania, but the population is aboutthe same, 4.3 million in Norway, and 3.7 million in Lithuania. This gives an average of 57 persons pr km2 in Lithuania, while Norway has the lowest population density in Europe, with only 13 persons pr km2. The physical factors of nature strongly influence man's adaptation to his environment. Human response to the environment varies over distance and with changes in the environment. Different adaptive patterns can be expected to occur within diverse environments. Topographic and climatic factors may limit human settlement and exploitation and serve to define the area used by a specific band of hunter-gatherers (Price 1980:223). Information from Australia indicates that tribal boundaries are based on visible and rational physiographic features such as river systems, watersheds, shifts in topography, and changes in floral complexes' (Birdsell 1971 :334). Information from other ethnographically-known areas of the world indicates that the same pattern is consistent (Price 1980:223).
    [Show full text]
  • Study of Boat Figures in Alta Rock Art and Other Scandinavian Locations
    1 Study of Boat Figures in Alta Rock Art and other Scandinavian locations. With a view to elucidate their construction, and discuss the origin of the Nordic Boat Per Gierløff Klem Master Thesis in Archaeology at the University of Oslo, Department of Archaeology, Conservation and History 2010 2 View from Ole Pedersen, 18 meters above sea level, with boat figure 44 in the middle of the foreground. Photo Karin Tansem, Alta museum Frontispiece The frontispiece is probably the oldest carving of a boat figure in Norway. It is located 26 meters above sea level at Kåfjord in Alta, showing a small boat with a reindeer figurehead superimposed on a larger elk head. Traced from photo by Karin Tansem. 3 Table of Contents List of Illustrations 4 Foreword 5 Acknowledgments 6 Chapter 1 Introduction 7 Chapter 2: Research History 11 Chapter 3: Boats of the Circumpolar Region 22 Chapter 4: Boats in other Cultures 38 Chapter 5: Boat Figures of Hunters and Gatherers 44 Chapter 6: Alta 50 Chapter 7: Boat Figures in Alta 53 Chapter 8: Table of Proposed Generations 54 Chapter 9: Catalogue of Boat Figures 55 Chapter 10: Analysis 71 Chapter 11: Comments on the Hjortspring boat 83 Chapter 12: Summary and Conclusion 88 List of literature and sources 93 4 List of Illustrations 1. Rødøy and Skjomen carvings, from Brøgger 1951: 15 2. Evenhus carving, from Brøgger 1951: 17 3. North Alaskan Whaling Umiak, from Adney 2007: 187 4. Detail of decorated ceremonial skin, Siberia, from Fitzhugh 1988: 309 5. Figurehead decoration of Kayaks, Brindley 1919: 132 6.
    [Show full text]
  • Timo Salminen in SEARCH of a NORDIC IDEA? the FIRST FIVE NORDIC MEETINGS of ARCHAEOLOGISTS 1916–27
    Fennoscandia archaeologica XXXIII (2016) Timo Salminen IN SEARCH OF A NORDIC IDEA? THE FIRST FIVE NORDIC MEETINGS OF ARCHAEOLOGISTS 1916–27 Abstract International congresses of archaeology ceased abruptly after the outbreak of the First World War. The first Nordic Meeting of Archaeologists was held in 1916 in Kristiania (Norway). The first five meetings are analysed in this study. From the very beginning, these meetings were highly significant both for introducing new finds and for bringing interpretations under discussion. Also methodological questions, especially those relating to scientific methods, were included in the programmes. On the other hand, archaeological theory was not dealt with, nor was there any unanimity on theoretical questions. Diffusionist explanation models dominated the presentations, but a considerable plurality of views was allowed. Ideological connotations can be observed in several papers and excursions, but ethnic questions were relatively marginal. The various attempts to discover a common Nordic idea at the meetings did not lead to significant results. On a practical level, the meetings proved to be important from the beginning. Keywords: Nordic Meetings of Archaeologists, international contacts in archaeology, Nordic coun- tries, history of archaeology Timo Salminen, Lopentie 10 C 45, FI-11100 Riihimäki, Finland: [email protected]. Received: 2 Jun 2016; Accepted: 15 Sep 2016; Revised: 10 Oct 2016. NORDIC MEETINGS OF ARCHAEOLOGISTS independence (Baudou 2004: 205–8; Salminen 2014a: 49–55). The first
    [Show full text]
  • Controversies in the Wake of Anders Nummedal's Discoveries Of
    Breivik, H M and Ellingsen, E G 2014 ‘A Discovery of Quite Exceptional Proportions’: Controversies in the Wake of Anders Nummedal’s Discoveries of Norway’s First Inhabitants. Bulletin of the History of Archaeology, 24: 9, pp. 1–13, DOI: http://dx.doi.org/10.5334/bha.249 PAPER ‘A Discovery of Quite Exceptional Proportions’: Controversies in the Wake of Anders Nummedal’s Discoveries of Norway’s First Inhabitants Heidi Mjelva Breivik* and Ellen J. Grav Ellingsen† Around the beginning of the twentieth century archaeologists believed that Norway was not inhabited until the Late Stone Age. In 1909 two pieces of flint, found by the school-teacher Anders Nummedal, launched an extensive debate about the prehistory of Norway, which in time led to the acknowledgement that there was an Early Mesolithic (9500–8000 BC) settlement of the country. However, Nummedal’s lack of archaeological education worked against him when he tried to date the many flint sites he found later on, and well-established researchers found his theories about Stone Age settlements unconvincing. He was regarded as an unskilled teacher who did not know the first thing about archaeological methods and terminology. Today, Nummedal is considered to be one of the most influential participants in Norwegian Stone Age research, and his discoveries are well known and widely recognized. This paper describes Nummedal’s fight to transform his reputation from ridiculed amateur to respected professional. The resistance he met when presenting his sensational theories is detailed through an extensive review of letters, newspaper articles and eulogies written by his colleagues. Introduction tools, and additionally, by the use of flint microliths.
    [Show full text]
  • Iron Production in Scandinavian Archaeology
    ARTICLE Norwegian Archaeological Review, Vol. 36, No. 2, 2003 Iron Production in Scandinavian Archaeology LARS F. STENVIK Trends in archaeological research in iron production during the 100 years that this topic has been studied in Scandinavia are highlighted in this article. In some periods there has been a relatively high level of activity among iron production researchers; in other periods the interest has tended to wane. Why should this be so and to what extent have theoretical trends in archaeology influenced this field? From a European perspective, Sweden and Norway are uniquely placed for studies of ancient iron technology because the remains of iron production in these countries are situated in remote areas. They are preserved because there has been no activity in the forests and mountain regions to disturb them since the production sites were vacated hundreds and thousands of years ago. INTRODUCTION HISTORICAL BACKGROUND The study of artefacts and the establishing of An interest in iron production took place a a chronology had dominated the discipline long time before archaeologists started to of archaeology in the 19th century in investigate iron production sites. In Norway Scandinavia. The works of, for example, C. and Sweden there was a direct iron production F. Thomsen in Denmark, O. Montelius in in recent times parallel with modern iron Sweden and O. Rygh in Norway opened the production in steelworks. This production doors at the universities for archaeology. was concentrated in remote parts of the upper Grave mounds were systematically exam- valleys and forested areas, where peasants ined in the search for more material that could produce their own iron and to some could be used in building typological extent produce iron for trade.
    [Show full text]
  • Kunst Og Kultur 4-2020, Årgang 103
    2020 årg. 103 4 Kunst og Kultur 4-2020, årgang 103 https://www.idunn.no/kk Kunst og Kultur ble etablert av Harry Fett og Haakon Shetelig i 1910. Det er det eldste kunsthistoriske tidsskriftet i Norge og publiserer ny forskning på høyt vitenskapelig nivå. Tidsskriftet er den viktigste norskspråklige formidlingskanalen for kunsthistorikere og dekker billedkunst, arkitektur og design fra middelalderen til i dag. Kunst og Kultur retter seg mot forskere og fagmiljøer som arbeider med kunsthistoriske perspektiver og problemstillinger. Kunst og Kultur kommer ut fire ganger årlig. Fra og med 2017 utgis tidsskriftet med åpen tilgang (open access). Ansvarlig redaktør Bente Aass Solbakken, Nasjonalmuseet Redaksjonssekretær Beate Marie Bang, Nasjonalmuseet Redaksjonsråd Knut Astrup Bull, Nasjonalmuseet Øystein Sjåstad, Universitetet i Oslo Margrethe C. Stang, NTNU Caroline Ugelstad, Henie Onstad Kunstsenter Sigrun Åsebø, Universitetet i Bergen Design og sats: Type-it AS, Trondheim Omslagsdesign: KORD ISSN online: 1504-3029 DOI: 10.18261/issn.1504-3029 © Universitetsforlaget 2020 Tidsskriftet utgis av Universitetsforlaget i samarbeid med Nasjonalmuseet for kunst, arkitektur og design og med støtte fra Nasjonalt tidsskriftkonsortium for humaniora og samfunnsvitenskap. Innhold Artikler Velkommen vor Monarch! 206 Æresporte fra Christian VI’s Norgesrejse – beskrevet og set Ulla Kjær Rasjonelle fabrikker 222 Fabrikkarkitektur som styringsredskap i første halvdel av 1900-tallet Peter Forrás Ett monogram från barockens tid och målaren Set Knutsson 232 Attribuering baserad på stilanalys av skrift Olof Holm Himmelsk formidling i middelalderens malerkunst 246 Kaja Kollandsrud article Kunst og kultur Fagfellevurdert Årgang 103, nr. 4-2020, s. 206–221 DOI:10.18261/issn.1504-3029-2020-04-01ISSN online: 1504-3029 Vitenskapeligpublikasjon VITENSKAPELIG PUBLIKASJON DOI: https://doi.org/10.18261/issn.1504-3029-2020-04-01 Velkommen vor Monarch! Æresporte fra Christian VI’s Norgesrejse – beskrevet og set Ulla Kjær Museumsinspektør og seniorforsker, Danmarks Nationalmuseum Ulla Kjær er dr.phil.
    [Show full text]
  • 5 the Ship Graves on Kormt – and Beyond
    Jan Bill 5 The Ship Graves on Kormt – and Beyond Two of the most significant archaeological monuments on Karmøy are the burials from Storhaug and Grønhaug. Consisting of impressive mounds containing large chamber graves in ships, they belong to the most exclusive and costly group of ritual expressions known from the Viking Age. The two ship graves on Karmøy thus represent persons and politics at the very heart of what made this island an important place in early medieval Scandinavia. This chapter suggests that the majority of monumental burials using the ship allegory were manifestations of a certain ori- gin myth, of which the Danish Skjǫldungar legend is an example, erected as part of the power struggle between ascendant royal families. Archaeological material and written sources are analysed to illuminate the use of ship sym- bolism in monumental burials in and around Scandinavia: large mounds with inhumations or cremations in ships; large ship-shaped stone settings; and written sources from the 10th to the 14th century mentioning ship burials. The archaeological study shows that two different tradi- tions were in use from the late 6th to the late 10th century. One was utilising stone ship settings, at least sometimes in combination with cremations, and was used in southern and eastern Sweden as well as in Denmark. The other, employing inhumation burials in ships, derived from a Scandinavian tradition of placing the deceased in boats for the funerals, but was only developed into a monumental format in East Anglia around 600. From there, it spread to Norway and, to a lesser extent, Denmark in the late 8th–10th centuries.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses A catalogue and re-evaluation of the Urnes style in England Owen, Olwyan Anne How to cite: Owen, Olwyan Anne (1979) A catalogue and re-evaluation of the Urnes style in England, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10298/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ABSTRACT The first part contains a study of the methodological approaches used in the analysis of the Urnes style, and they are subsequen• tly applied to the Urnes material in Scandinavia. The Scandinavian style is discussed in relation to the different objects and monu• ments on which it- appears, and a dating is attempted. Against this background, in part two the English material is discussed, accord• ing to the medium in which it is executed, and an English version of the style is defined.
    [Show full text]
  • The Root of All Gender, Identity and Difference in the 4Th-6Th Century of Voss and Hardanger Elisabeth Aslesen
    The Root of All Gender, Identity and Difference in the 4th-6th century of Voss and Hardanger Elisabeth Aslesen Master’s Dissertation in Archaeology Department of Archaeology, Conservation and History (IAKH) University of Oslo Spring 2020 24.06.2020 Page 1 of 105 Page 2 of 105 Acknowledgements First of all, thank you to my supervisor Vibeke M. Viestad, and thank you to my secondary supervisor Andrew Gardner. Thank you to University College London, for giving me access to their resources, without which this would not have been possible. Thank you to Siv Kristoffersen, for giving me tips on literature early on, making me understand how to start this journey. Thank you to Per Ditlef Fredriksen, for giving me guidance on the path I was taking and helping me continue it. Thank you to Jan G. Auestad, for the generous loan of his hovedoppgave. Thank you to my sister Charlotte, for proofreading my work and giving me valuable insight into how to sound like a human being in my writing. Lastly, thank you to Erling Sandmo. Anyone familiar with his work will see his influence on this text. As one of my first lecturers, I can’t overstate how fundamental he has been to my academic perspective. Thank you. Disclaimer Due to COVID-19, I had limited access to literature for a portion of this process. Resultantly, there are some deficiencies in the literature. I point out where I reference work within other work, and hope I have not misrepresented any perspectives. I also did not gain access to certain works used in this dissertation until a late stage (e.g.
    [Show full text]