This report makes available the preliminary results of the excavation conducted in 2014 by the Ir... more This report makes available the preliminary results of the excavation conducted in 2014 by the Iranian-Italian Joint Expedition in Khuzestan at Kal-e Chendar, in the valley of Shami (ancient Elymais). The expedition started regular excavation in 2013 and brought to light the remains of buildings of various type, size and technique, almost certainly made for religious purposes on monumental terraces. Family tombs of a wide cemetery were also recognized that must have been used by a wealthy plutocracy.
This report makes available the preliminary results of the excavation conducted in 2015 by the Ir... more This report makes available the preliminary results of the excavation conducted in 2015 by the Iranian-Italian Joint Expedition in Khuzestan at Kal-e Chendar, in the valley of Shami (ancient Elymais). The expedition started regular excavation in 2013 and brought to light the remains of buildings of various type, size and technique, almost certainly made for religious purposes on monumental terraces. Family tombs of a wide cemetery were also recognized that must have been used by a wealthy plutocracy.
This report makes available the preliminary results of the excavation conducted in 2015 by the Ir... more This report makes available the preliminary results of the excavation conducted in 2015 by the Iranian-Italian Joint Expedition in Khuzestan at Kal-e Chendar, in the valley of Shami (ancient Elymais). The expedition started regular excavation in 2013 and brought to light the remains of buildings of various type, size and technique, almost certainly made for religious purposes on monumental terraces. Family tombs of a wide cemetery were also recognized that must have been used by a wealthy plutocracy.
Brill Series: Culture and History of the Ancient Near East, May 7, 2019
Graffiti are an often neglected but crucial witness to everyday life of ancient civilizations. Th... more Graffiti are an often neglected but crucial witness to everyday life of ancient civilizations. The Aramaic graffiti from Hatra (North Iraq) can make an invaluable contribution in this sense, distributed as they were in various buildings throughout this city which flourished between the 1st and the 3rd century AD. Thanks to an effective interaction between epigraphy and archaeology, Marco Moriggi and Ilaria Bucci offer a thorough analysis of the Aramaic graffiti from Hatra as documented by the Archive of the Missione Archeologica Italiana (Turin). In addition to the edition of 48 published and 37 unpublished graffiti, this study further includes the concordances of numbers of all Hatran texts published so far and full archaeological information about the graffiti.
La straordinaria brocca in oro protagonista di questo studio venne rinvenuta all’interno della To... more La straordinaria brocca in oro protagonista di questo studio venne rinvenuta all’interno della Tomba reale III al di sotto dell’ambiente 57 del Palazzo Nord-Ovest di Nimrud. La brocca faceva parte, insieme ad altri oggetti preziosi del ricchissimo corredo funerario di Hamâ, una regina assira sconosciuta fino al momento della scoperta della tomba, deposti nel Sarcofago 2, rinvenuto con altri due sarcofagi bronzei nell’anticamera dell’ipogeo. Obbiettivo di questo studio è stato non soltanto mettere in luce la tecnica di manifattura e le peculiari caratteristiche della decorazione figurata di questa piccola brocca ma anche la formulazione di ipotesi interpretativi riguardanti la sua cronologia, l’area di produzione e la funzione. L’individuazione di confronti sia formali cheiconografici e tematici ha permesso di inserire la brocca in un variegato lessico artistico internazionale in cui convivono tradizioni culturali differenti, e di riconoscerla come una vivida testimonianza delle diverse dinamiche di produzione e diffusione degli oggetti di lusso nei primi secoli del I millennio a.C., oltre che degli usi funerari e della complessa struttura sociale della corte assira. The extraordinary side-spouted gold jug hereby presented and discussed was found in the Royal Tomb III discovered under room 57 in the North-West Palace at Nimrud. The gold jug was, with other astonishing grave goods probably belonging to Hamâ (an Assyrian queen unknown up to recent times), in bronze Coffin 2, one of the three coffins placed in the antechamber. The aim of this study is not only to shed light on this unique vessel, investigating the method of manufacture, decoration, and functional aspect, but also to identify the possible workshop and date range of production. The comparison with coeval archaeological findings places it within a historical framework of artistic, economic and socio-political interactions. The combined results of these analyses suggest that the golden jug, instead of a gift or tribute, may have been produced for the royal court in the Neo-Assyrian international cultural milieu, into which manifold traditions coexisted.
ICS Classical Archaeology Seminar, Spring term 2021
'The Archaeology of graffiti: Materiality an... more ICS Classical Archaeology Seminar, Spring term 2021
'The Archaeology of graffiti: Materiality and context of vernacular texts and pictures in the Near East in the Classical periods'
This report makes available the preliminary results of the excavation conducted in 2014 by the Ir... more This report makes available the preliminary results of the excavation conducted in 2014 by the Iranian-Italian Joint Expedition in Khuzestan at Kal-e Chendar, in the valley of Shami (ancient Elymais). The expedition started regular excavation in 2013 and brought to light the remains of buildings of various type, size and technique, almost certainly made for religious purposes on monumental terraces. Family tombs of a wide cemetery were also recognized that must have been used by a wealthy plutocracy.
This report makes available the preliminary results of the excavation conducted in 2015 by the Ir... more This report makes available the preliminary results of the excavation conducted in 2015 by the Iranian-Italian Joint Expedition in Khuzestan at Kal-e Chendar, in the valley of Shami (ancient Elymais). The expedition started regular excavation in 2013 and brought to light the remains of buildings of various type, size and technique, almost certainly made for religious purposes on monumental terraces. Family tombs of a wide cemetery were also recognized that must have been used by a wealthy plutocracy.
This report makes available the preliminary results of the excavation conducted in 2015 by the Ir... more This report makes available the preliminary results of the excavation conducted in 2015 by the Iranian-Italian Joint Expedition in Khuzestan at Kal-e Chendar, in the valley of Shami (ancient Elymais). The expedition started regular excavation in 2013 and brought to light the remains of buildings of various type, size and technique, almost certainly made for religious purposes on monumental terraces. Family tombs of a wide cemetery were also recognized that must have been used by a wealthy plutocracy.
Brill Series: Culture and History of the Ancient Near East, May 7, 2019
Graffiti are an often neglected but crucial witness to everyday life of ancient civilizations. Th... more Graffiti are an often neglected but crucial witness to everyday life of ancient civilizations. The Aramaic graffiti from Hatra (North Iraq) can make an invaluable contribution in this sense, distributed as they were in various buildings throughout this city which flourished between the 1st and the 3rd century AD. Thanks to an effective interaction between epigraphy and archaeology, Marco Moriggi and Ilaria Bucci offer a thorough analysis of the Aramaic graffiti from Hatra as documented by the Archive of the Missione Archeologica Italiana (Turin). In addition to the edition of 48 published and 37 unpublished graffiti, this study further includes the concordances of numbers of all Hatran texts published so far and full archaeological information about the graffiti.
La straordinaria brocca in oro protagonista di questo studio venne rinvenuta all’interno della To... more La straordinaria brocca in oro protagonista di questo studio venne rinvenuta all’interno della Tomba reale III al di sotto dell’ambiente 57 del Palazzo Nord-Ovest di Nimrud. La brocca faceva parte, insieme ad altri oggetti preziosi del ricchissimo corredo funerario di Hamâ, una regina assira sconosciuta fino al momento della scoperta della tomba, deposti nel Sarcofago 2, rinvenuto con altri due sarcofagi bronzei nell’anticamera dell’ipogeo. Obbiettivo di questo studio è stato non soltanto mettere in luce la tecnica di manifattura e le peculiari caratteristiche della decorazione figurata di questa piccola brocca ma anche la formulazione di ipotesi interpretativi riguardanti la sua cronologia, l’area di produzione e la funzione. L’individuazione di confronti sia formali cheiconografici e tematici ha permesso di inserire la brocca in un variegato lessico artistico internazionale in cui convivono tradizioni culturali differenti, e di riconoscerla come una vivida testimonianza delle diverse dinamiche di produzione e diffusione degli oggetti di lusso nei primi secoli del I millennio a.C., oltre che degli usi funerari e della complessa struttura sociale della corte assira. The extraordinary side-spouted gold jug hereby presented and discussed was found in the Royal Tomb III discovered under room 57 in the North-West Palace at Nimrud. The gold jug was, with other astonishing grave goods probably belonging to Hamâ (an Assyrian queen unknown up to recent times), in bronze Coffin 2, one of the three coffins placed in the antechamber. The aim of this study is not only to shed light on this unique vessel, investigating the method of manufacture, decoration, and functional aspect, but also to identify the possible workshop and date range of production. The comparison with coeval archaeological findings places it within a historical framework of artistic, economic and socio-political interactions. The combined results of these analyses suggest that the golden jug, instead of a gift or tribute, may have been produced for the royal court in the Neo-Assyrian international cultural milieu, into which manifold traditions coexisted.
ICS Classical Archaeology Seminar, Spring term 2021
'The Archaeology of graffiti: Materiality an... more ICS Classical Archaeology Seminar, Spring term 2021
'The Archaeology of graffiti: Materiality and context of vernacular texts and pictures in the Near East in the Classical periods'
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The extraordinary side-spouted gold jug hereby presented and discussed was found in the Royal Tomb III discovered under room 57 in the North-West Palace at Nimrud. The gold jug was, with other astonishing grave goods probably belonging to Hamâ (an Assyrian queen unknown up to recent times), in bronze Coffin 2, one of the three coffins placed in the antechamber. The aim of this study is not only to shed light on this unique vessel, investigating the method of manufacture, decoration, and functional aspect, but also to identify the possible workshop and date range of production. The comparison with coeval archaeological findings places it within a historical framework of artistic, economic and socio-political interactions. The combined results of these analyses suggest that the golden jug, instead of a gift or tribute, may have been produced for the royal court in the Neo-Assyrian international cultural milieu, into which manifold traditions coexisted.
Seminar Series by Ilaria Bucci
'The Archaeology of graffiti: Materiality and context of vernacular texts and pictures in the Near East in the Classical periods'
The extraordinary side-spouted gold jug hereby presented and discussed was found in the Royal Tomb III discovered under room 57 in the North-West Palace at Nimrud. The gold jug was, with other astonishing grave goods probably belonging to Hamâ (an Assyrian queen unknown up to recent times), in bronze Coffin 2, one of the three coffins placed in the antechamber. The aim of this study is not only to shed light on this unique vessel, investigating the method of manufacture, decoration, and functional aspect, but also to identify the possible workshop and date range of production. The comparison with coeval archaeological findings places it within a historical framework of artistic, economic and socio-political interactions. The combined results of these analyses suggest that the golden jug, instead of a gift or tribute, may have been produced for the royal court in the Neo-Assyrian international cultural milieu, into which manifold traditions coexisted.
'The Archaeology of graffiti: Materiality and context of vernacular texts and pictures in the Near East in the Classical periods'