Papers by Marjanko Pilekić
Archäologie in Berlin und Brandenburg: 2020, 2022
Discovery of 41 Celtic gold coins - so-called "Regenbogenschüsselchen" (=rainbow cups) - in Brand... more Discovery of 41 Celtic gold coins - so-called "Regenbogenschüsselchen" (=rainbow cups) - in Brandenburg. It is at the same time the largest Celtic coin find in Brandenburg as well as the second largest hoard find of this special coin type far away from the main distribution area.
by Roksana Chowaniec, Mariangela Puglisi, Wolfgang Fischer-Bossert, Cristian Gazdac, Benjamin Hellings, Helle Horsnaes, Antony HOSTEIN, Lucian Munteanu, Ute Wartenberg, Bernhard Weisser, Nancy L. Wicker, Jarosław Artur Bodzek, Judyta Rodzińska-Nowak, Jacek Andrzejowski, and Marjanko Pilekić
The article is divided into three parts: "Ernst Unger as a collector", "Ancient imitation or mode... more The article is divided into three parts: "Ernst Unger as a collector", "Ancient imitation or modern forgery?" and "Ernst Unger as a scholar".
The first part deals with the person of E. Unger as a passionate collector, which emerges above all from his correspondence with various scholars and resulted in one of the largest collections of pre- and early Germanic coins, which is now in the Württemberg State Museum Stuttgart.
The second part deals with an imitation of an aureus of Septimius Severus for his wife Iulia Domna (RIC V-1 540), which, in addition to E. Unger's collection, also appears in the collection of the British Museum in London, the Archaeological Museum in Zagreb as well as in trade. A total of six are known. Central questions are the provenance and function of these peculiar imitations.
The third part sums up the importance of E. Unger's collection, especially for the IMAGMA project, as well as his expertise as a scholar. Already E. Unger did not accept the classification of the imitations as mere forgeries, but recognised that they were much more products that were made outside the Roman Empire and attained a different significance as jewellery or treasures.
Az Érem , 2019
This article presents two 4th century subaerate solidi from the Hungarian National Museum: one of... more This article presents two 4th century subaerate solidi from the Hungarian National Museum: one of Constantius II and the other of Valentinian I. There are several possibilities to what these underweight coins served as (e.g. Charon’s obol, personal belongings), although none can be proven beyond doubt.
Objektkulturen der Sichtbarmachung. Instrumente und Praktiken, Junges Forum für Sammlungs- und Objektforschung 2, 2018
This article gives a brief overview of the common history of numismatics and metallurgy and the d... more This article gives a brief overview of the common history of numismatics and metallurgy and the difficulties and opportunities that arise from combining these two disciplines.
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
„Metallurgie“ und „Numismatik“ sind zwei Begriffe, die, so scheint es, wie ,Pech und Schwefel‘ zusammengehören sollten.
Denn wo die archäologischen bzw. historisch-literarischen Quellen nicht weiterhelfen, kann die Kombination aus geisteswissenschaftlicher
Fragestellung und naturwissenschaftlicher Methode ganz neue Möglichkeiten eröffnen, um neue
Erkenntnisse zu gewinnen. Doch ergeben sich aus der Anwendung metallurgischer Analysen an Münzen Probleme, die
bloße technische Aspekte übersteigen. Neben der Schwierigkeit, Ergebnisse sinnvoll zu interpretieren, ist es bis heute
trotz aller technischen Fortschritte noch nicht möglich, das notwendige Material den Münzen zu entnehmen, ohne dabei
Spuren auf der Oberfläche zu hinterlassen. Dieser Umstand fällt besonders dann ins Gewicht, wenn es abzuwägen
gilt, wann Erkenntnisgewinn Vorrang vor dem Prinzip der Unversehrtheit von Kulturgütern hat. Als Teil meiner Dissertation
innerhalb des IMAGMA-Projekts befasse ich mich am Rande auch mit den dazugehörigen metallurgischen Analysen.
Daher soll in diesem Beitrag ein kurzer Überblick über die gemeinsame Geschichte der Numismatik und der Metallurgie
gegeben werden und kursorisch die Schwierigkeiten wie die Möglichkeiten nachgezeichnet werden, die eine
Verbindung dieser beiden Disziplinen mit sich bringt.
Magazines by Marjanko Pilekić
Geldgeschichtliche Nachrichten (GN), 2024
Short contribution on the occasion of David Wigg-Wolf's retirement. Accessible via Geldgeschichtl... more Short contribution on the occasion of David Wigg-Wolf's retirement. Accessible via Geldgeschichtliche Nachrichten or via Zenodo, see DOI or attached link.
Archäologie in Deutschland, 2021
Discovery of 41 Celtic gold coins - so-called "Regenbogenschüsselchen" (=rainbow cups) - in Brand... more Discovery of 41 Celtic gold coins - so-called "Regenbogenschüsselchen" (=rainbow cups) - in Brandenburg. It is at the same time the largest Celtic coin find in Brandenburg as well as the second largest hoard find of this special coin type far away from the main distribution area.
Conference Presentations by Marjanko Pilekić
Vortrag im Rahmen des 16. International Numismatic Congress, am 13.09.2022 in Warschau (Polen):
... more Vortrag im Rahmen des 16. International Numismatic Congress, am 13.09.2022 in Warschau (Polen):
In the summer of 2017 a volunteer archaeologist investigating a field in Brandenburg unearthed a special find. This discovery was followed by a systematic investigation by archaeologists from the Brandenburg State Heritage Management and Archaeological State Museum (BLDAM) which continued until 2018 recovering a total of 41 “plain rainbow cup coins” (glatte Regenbogenschüsselchen). This is the largest Celtic gold find in Brandenburg and the second largest ever hoard find of plain rainbow cups of Kellner V A, in an extremely rare association with full and quarter staters of V A type recorded outside the normal distribution area of rainbow cups in general and plain rainbow cups in particular. In addition to die studies, metal analyses were carried out which, despite the lack of motifs, could also allow unexpected conclusions to be drawn about the coins. New and partly unpublished results will be presented.
Revised poster presentation on the digitisation of the numismatic collection of Stiftung Schloss ... more Revised poster presentation on the digitisation of the numismatic collection of Stiftung Schloss Friedenstein Gotha at INC Warsaw 2022.
Vortrag im Rahmen der 28. Jahrestagung der Archäologischen Gesellschaft in Berlin und Brandenburg... more Vortrag im Rahmen der 28. Jahrestagung der Archäologischen Gesellschaft in Berlin und Brandenburg e. V., am 14.05.2022 in Treuenbrietzen.
mit R. Schulz: Vortrag im Rahmen der Forschungskonferenz der Brandenburgischen Landesarchäologie ... more mit R. Schulz: Vortrag im Rahmen der Forschungskonferenz der Brandenburgischen Landesarchäologie für 2021 mit dem Titel: "Erfassen – Erforschen – Erhalten – Erzählen", am 17. u. 18.02.2022 (online)
Vortrag im Rahmen des 15. Tags der Antiken Numismatik (TAN), am 06.11.2021 in Münster.
Vortrag im Rhamen des "Symposium on Money and Coinage 2021" Sylloge of Coins of the British Isles... more Vortrag im Rhamen des "Symposium on Money and Coinage 2021" Sylloge of Coins of the British Isles, am 26.07.2021 (online).
Vortrag im Rhamen des "Exploring the Impact of Rome Beyond the Empire Imitations of Roman Imperia... more Vortrag im Rhamen des "Exploring the Impact of Rome Beyond the Empire Imitations of Roman Imperial Coins", annual conference of the University of Warsaw Institute of Archaeology, am 23.03.2021 (online).
In all periods and regions we repeatedly encounter particularly curious examples of imitations of ancient coins. Without additional information, for example about their archaeological context, the question arises as to whether these coins are contemporary imitations, or rather contemporary or modern forgeries. This paper presents six imitations of an aureus of Septimius Severus for Iulia Domna (RIC IV-1 no. 540) which raise exactly these questions and will try to answer them by combining different information.
Vortrag im Rhamen des "25th Annual Meeting of the European Association of Archaeologists 2019 (EA... more Vortrag im Rhamen des "25th Annual Meeting of the European Association of Archaeologists 2019 (EAA)", am 06.09.2019 in Bern (Schweiz).
Like many other products, Roman coins were exported far beyond of the borders of the Roman Empire. There they entered a new sphere of economic and social interactions. Later they were also imitated in significant numbers. Until the mid-3rd century primarily silver denarii were copied, which remained in a primarily economic sphere of economic transactions. Later, gold coins were also imitated and were to a large extent removed from the monetary sphere.
I am studying the imitations of Roman coins from “the Central European barbaricum” between the 4th and 6th centuries A.D. with a focus on imitations in gold. The majority of these imitations were directly removed from monetary circulation by piercing or looping – or in some cases produced in this way – and thus never went into monetary circulation, suggesting that these pieces took on a whole new meaning. Comparable to jewellery, these coins could be worn on the body, on clothing as part of the costume or as decoration on weapons and equipment, whereby the possible symbolic significance for the wearer or wearers and the effect on the outside should not be underestimated. For in almost all cases the holes or loops have been set in such a way that the front, and thus the portrait of the Roman emperor, was displayed. Such imitations of Roman coins, which were presumably produced by the developing elites right across the north of the Roman frontier and used by them to demonstrate their status provide an insight of this cultural meeting, a synthesis of Roman and indigenous societies. In my contribution I would like to present some material that looks like money in coin form – and was quite sure manufactured like genuine roman coins – but underwent a transformation in meaning.
Vortrag im Rahmen der Tagung "Imitatio delectat. Die soziokulturelle Bedeutung von Nachahmungen r... more Vortrag im Rahmen der Tagung "Imitatio delectat. Die soziokulturelle Bedeutung von Nachahmungen römischer Münzen", am 22.03.2019 in Heidelberg.
Vortrag im Rahmen des 13. Tags der Antiken Numismatik (TAN), am 03.11.2018 in Münster.
Vortrag im Rahmen der "Young Numismatists Conference 2018", am 11.10.2018 in Budapest.
I am stu... more Vortrag im Rahmen der "Young Numismatists Conference 2018", am 11.10.2018 in Budapest.
I am studying the imitations of Roman coins from „the Central European barbaricum” – north of the Danube between
the Vienna Basin in the west and the Carpathians in the east – between the 4th and 6th centuries A.D., with a focus on
imitations in gold and silver. These are objects that in most cases look very different from the original templates.
As a rule, stylistic differences are noticeable in the depictions or, for example, in the coin legends. The fact that many
imitations were easily recognisable as such, through more or less conscious and obvious stylistic and iconographic deviations,
can be an argument why the pieces do not appear to have been produced with fraudulent intent. The majority of these
imitations were directly removed from monetary circulation by piercing or looping –or in some cases produced in this way–
and thus never went into monetary circulation, suggesting that these pieces took on a whole new meaning.
Comparable to the jewellery, these coins could be worn on the body, on clothing as
part of the costume or as decoration on weapons and equipment, whereby the possible
symbolic significance for the wearer or wearers and the effect on the outside should not be
underestimated. For in almost all cases the holes or loops have been set in such a way that the
front, and thus the portrait of the Roman emperor, was displayed. Such imitations of Roman
coins, which were presumably produced by the developing elites right across the north of
the Roman frontier and used by them to demonstrate their status provide an insight of this
cultural meeting, a synthesis of Roman and indigenous societies.
In my contribution I would like to present first theories about the origin and function of this
numismatic phenomenon.
Vortrag im Rahmen der "Imperialism and identities at the edges of the Roman World 4 (IIERW 4)" Co... more Vortrag im Rahmen der "Imperialism and identities at the edges of the Roman World 4 (IIERW 4)" Conference 2018, am 21.09.2018 in Petnica (Serbien):
Roman coins were exported from the Empire to the north European barbaricum in large numbers, where they entered a new sphere of economic and social interactions. There they were also imitated in significant numbers. Until the mid-3rd century primarily silver denarii were copied, which remained in a primarily economic sphere of economic transactions. Later, gold coins were also imitated and were to a large extent removed from the monetary sphere, for example becoming objects of attire: they were frequently pierced so that they could be worn displaying the head of the emperor on the obverse.
Such imitations of Roman coins, which were produced by the developing elites right across the barbaricum north of the Roman frontier and used by them to demonstrate their status provide an unparalleled microcosm of this cultural meeting, a unique synthesis of Roman and indigenous societies.
This contribution will assess the role of such coins as an expression of the identity of the peoples who inhabited the northern barbaricum, and what this tells us about the relationship between Rome and her northern neighbours.
Uploads
Papers by Marjanko Pilekić
The first part deals with the person of E. Unger as a passionate collector, which emerges above all from his correspondence with various scholars and resulted in one of the largest collections of pre- and early Germanic coins, which is now in the Württemberg State Museum Stuttgart.
The second part deals with an imitation of an aureus of Septimius Severus for his wife Iulia Domna (RIC V-1 540), which, in addition to E. Unger's collection, also appears in the collection of the British Museum in London, the Archaeological Museum in Zagreb as well as in trade. A total of six are known. Central questions are the provenance and function of these peculiar imitations.
The third part sums up the importance of E. Unger's collection, especially for the IMAGMA project, as well as his expertise as a scholar. Already E. Unger did not accept the classification of the imitations as mere forgeries, but recognised that they were much more products that were made outside the Roman Empire and attained a different significance as jewellery or treasures.
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
„Metallurgie“ und „Numismatik“ sind zwei Begriffe, die, so scheint es, wie ,Pech und Schwefel‘ zusammengehören sollten.
Denn wo die archäologischen bzw. historisch-literarischen Quellen nicht weiterhelfen, kann die Kombination aus geisteswissenschaftlicher
Fragestellung und naturwissenschaftlicher Methode ganz neue Möglichkeiten eröffnen, um neue
Erkenntnisse zu gewinnen. Doch ergeben sich aus der Anwendung metallurgischer Analysen an Münzen Probleme, die
bloße technische Aspekte übersteigen. Neben der Schwierigkeit, Ergebnisse sinnvoll zu interpretieren, ist es bis heute
trotz aller technischen Fortschritte noch nicht möglich, das notwendige Material den Münzen zu entnehmen, ohne dabei
Spuren auf der Oberfläche zu hinterlassen. Dieser Umstand fällt besonders dann ins Gewicht, wenn es abzuwägen
gilt, wann Erkenntnisgewinn Vorrang vor dem Prinzip der Unversehrtheit von Kulturgütern hat. Als Teil meiner Dissertation
innerhalb des IMAGMA-Projekts befasse ich mich am Rande auch mit den dazugehörigen metallurgischen Analysen.
Daher soll in diesem Beitrag ein kurzer Überblick über die gemeinsame Geschichte der Numismatik und der Metallurgie
gegeben werden und kursorisch die Schwierigkeiten wie die Möglichkeiten nachgezeichnet werden, die eine
Verbindung dieser beiden Disziplinen mit sich bringt.
Magazines by Marjanko Pilekić
Conference Presentations by Marjanko Pilekić
In the summer of 2017 a volunteer archaeologist investigating a field in Brandenburg unearthed a special find. This discovery was followed by a systematic investigation by archaeologists from the Brandenburg State Heritage Management and Archaeological State Museum (BLDAM) which continued until 2018 recovering a total of 41 “plain rainbow cup coins” (glatte Regenbogenschüsselchen). This is the largest Celtic gold find in Brandenburg and the second largest ever hoard find of plain rainbow cups of Kellner V A, in an extremely rare association with full and quarter staters of V A type recorded outside the normal distribution area of rainbow cups in general and plain rainbow cups in particular. In addition to die studies, metal analyses were carried out which, despite the lack of motifs, could also allow unexpected conclusions to be drawn about the coins. New and partly unpublished results will be presented.
In all periods and regions we repeatedly encounter particularly curious examples of imitations of ancient coins. Without additional information, for example about their archaeological context, the question arises as to whether these coins are contemporary imitations, or rather contemporary or modern forgeries. This paper presents six imitations of an aureus of Septimius Severus for Iulia Domna (RIC IV-1 no. 540) which raise exactly these questions and will try to answer them by combining different information.
Like many other products, Roman coins were exported far beyond of the borders of the Roman Empire. There they entered a new sphere of economic and social interactions. Later they were also imitated in significant numbers. Until the mid-3rd century primarily silver denarii were copied, which remained in a primarily economic sphere of economic transactions. Later, gold coins were also imitated and were to a large extent removed from the monetary sphere.
I am studying the imitations of Roman coins from “the Central European barbaricum” between the 4th and 6th centuries A.D. with a focus on imitations in gold. The majority of these imitations were directly removed from monetary circulation by piercing or looping – or in some cases produced in this way – and thus never went into monetary circulation, suggesting that these pieces took on a whole new meaning. Comparable to jewellery, these coins could be worn on the body, on clothing as part of the costume or as decoration on weapons and equipment, whereby the possible symbolic significance for the wearer or wearers and the effect on the outside should not be underestimated. For in almost all cases the holes or loops have been set in such a way that the front, and thus the portrait of the Roman emperor, was displayed. Such imitations of Roman coins, which were presumably produced by the developing elites right across the north of the Roman frontier and used by them to demonstrate their status provide an insight of this cultural meeting, a synthesis of Roman and indigenous societies. In my contribution I would like to present some material that looks like money in coin form – and was quite sure manufactured like genuine roman coins – but underwent a transformation in meaning.
I am studying the imitations of Roman coins from „the Central European barbaricum” – north of the Danube between
the Vienna Basin in the west and the Carpathians in the east – between the 4th and 6th centuries A.D., with a focus on
imitations in gold and silver. These are objects that in most cases look very different from the original templates.
As a rule, stylistic differences are noticeable in the depictions or, for example, in the coin legends. The fact that many
imitations were easily recognisable as such, through more or less conscious and obvious stylistic and iconographic deviations,
can be an argument why the pieces do not appear to have been produced with fraudulent intent. The majority of these
imitations were directly removed from monetary circulation by piercing or looping –or in some cases produced in this way–
and thus never went into monetary circulation, suggesting that these pieces took on a whole new meaning.
Comparable to the jewellery, these coins could be worn on the body, on clothing as
part of the costume or as decoration on weapons and equipment, whereby the possible
symbolic significance for the wearer or wearers and the effect on the outside should not be
underestimated. For in almost all cases the holes or loops have been set in such a way that the
front, and thus the portrait of the Roman emperor, was displayed. Such imitations of Roman
coins, which were presumably produced by the developing elites right across the north of
the Roman frontier and used by them to demonstrate their status provide an insight of this
cultural meeting, a synthesis of Roman and indigenous societies.
In my contribution I would like to present first theories about the origin and function of this
numismatic phenomenon.
Roman coins were exported from the Empire to the north European barbaricum in large numbers, where they entered a new sphere of economic and social interactions. There they were also imitated in significant numbers. Until the mid-3rd century primarily silver denarii were copied, which remained in a primarily economic sphere of economic transactions. Later, gold coins were also imitated and were to a large extent removed from the monetary sphere, for example becoming objects of attire: they were frequently pierced so that they could be worn displaying the head of the emperor on the obverse.
Such imitations of Roman coins, which were produced by the developing elites right across the barbaricum north of the Roman frontier and used by them to demonstrate their status provide an unparalleled microcosm of this cultural meeting, a unique synthesis of Roman and indigenous societies.
This contribution will assess the role of such coins as an expression of the identity of the peoples who inhabited the northern barbaricum, and what this tells us about the relationship between Rome and her northern neighbours.
The first part deals with the person of E. Unger as a passionate collector, which emerges above all from his correspondence with various scholars and resulted in one of the largest collections of pre- and early Germanic coins, which is now in the Württemberg State Museum Stuttgart.
The second part deals with an imitation of an aureus of Septimius Severus for his wife Iulia Domna (RIC V-1 540), which, in addition to E. Unger's collection, also appears in the collection of the British Museum in London, the Archaeological Museum in Zagreb as well as in trade. A total of six are known. Central questions are the provenance and function of these peculiar imitations.
The third part sums up the importance of E. Unger's collection, especially for the IMAGMA project, as well as his expertise as a scholar. Already E. Unger did not accept the classification of the imitations as mere forgeries, but recognised that they were much more products that were made outside the Roman Empire and attained a different significance as jewellery or treasures.
-------------------------------------------------------------------------------------------
-------------------------------------------------------------------------------------------
„Metallurgie“ und „Numismatik“ sind zwei Begriffe, die, so scheint es, wie ,Pech und Schwefel‘ zusammengehören sollten.
Denn wo die archäologischen bzw. historisch-literarischen Quellen nicht weiterhelfen, kann die Kombination aus geisteswissenschaftlicher
Fragestellung und naturwissenschaftlicher Methode ganz neue Möglichkeiten eröffnen, um neue
Erkenntnisse zu gewinnen. Doch ergeben sich aus der Anwendung metallurgischer Analysen an Münzen Probleme, die
bloße technische Aspekte übersteigen. Neben der Schwierigkeit, Ergebnisse sinnvoll zu interpretieren, ist es bis heute
trotz aller technischen Fortschritte noch nicht möglich, das notwendige Material den Münzen zu entnehmen, ohne dabei
Spuren auf der Oberfläche zu hinterlassen. Dieser Umstand fällt besonders dann ins Gewicht, wenn es abzuwägen
gilt, wann Erkenntnisgewinn Vorrang vor dem Prinzip der Unversehrtheit von Kulturgütern hat. Als Teil meiner Dissertation
innerhalb des IMAGMA-Projekts befasse ich mich am Rande auch mit den dazugehörigen metallurgischen Analysen.
Daher soll in diesem Beitrag ein kurzer Überblick über die gemeinsame Geschichte der Numismatik und der Metallurgie
gegeben werden und kursorisch die Schwierigkeiten wie die Möglichkeiten nachgezeichnet werden, die eine
Verbindung dieser beiden Disziplinen mit sich bringt.
In the summer of 2017 a volunteer archaeologist investigating a field in Brandenburg unearthed a special find. This discovery was followed by a systematic investigation by archaeologists from the Brandenburg State Heritage Management and Archaeological State Museum (BLDAM) which continued until 2018 recovering a total of 41 “plain rainbow cup coins” (glatte Regenbogenschüsselchen). This is the largest Celtic gold find in Brandenburg and the second largest ever hoard find of plain rainbow cups of Kellner V A, in an extremely rare association with full and quarter staters of V A type recorded outside the normal distribution area of rainbow cups in general and plain rainbow cups in particular. In addition to die studies, metal analyses were carried out which, despite the lack of motifs, could also allow unexpected conclusions to be drawn about the coins. New and partly unpublished results will be presented.
In all periods and regions we repeatedly encounter particularly curious examples of imitations of ancient coins. Without additional information, for example about their archaeological context, the question arises as to whether these coins are contemporary imitations, or rather contemporary or modern forgeries. This paper presents six imitations of an aureus of Septimius Severus for Iulia Domna (RIC IV-1 no. 540) which raise exactly these questions and will try to answer them by combining different information.
Like many other products, Roman coins were exported far beyond of the borders of the Roman Empire. There they entered a new sphere of economic and social interactions. Later they were also imitated in significant numbers. Until the mid-3rd century primarily silver denarii were copied, which remained in a primarily economic sphere of economic transactions. Later, gold coins were also imitated and were to a large extent removed from the monetary sphere.
I am studying the imitations of Roman coins from “the Central European barbaricum” between the 4th and 6th centuries A.D. with a focus on imitations in gold. The majority of these imitations were directly removed from monetary circulation by piercing or looping – or in some cases produced in this way – and thus never went into monetary circulation, suggesting that these pieces took on a whole new meaning. Comparable to jewellery, these coins could be worn on the body, on clothing as part of the costume or as decoration on weapons and equipment, whereby the possible symbolic significance for the wearer or wearers and the effect on the outside should not be underestimated. For in almost all cases the holes or loops have been set in such a way that the front, and thus the portrait of the Roman emperor, was displayed. Such imitations of Roman coins, which were presumably produced by the developing elites right across the north of the Roman frontier and used by them to demonstrate their status provide an insight of this cultural meeting, a synthesis of Roman and indigenous societies. In my contribution I would like to present some material that looks like money in coin form – and was quite sure manufactured like genuine roman coins – but underwent a transformation in meaning.
I am studying the imitations of Roman coins from „the Central European barbaricum” – north of the Danube between
the Vienna Basin in the west and the Carpathians in the east – between the 4th and 6th centuries A.D., with a focus on
imitations in gold and silver. These are objects that in most cases look very different from the original templates.
As a rule, stylistic differences are noticeable in the depictions or, for example, in the coin legends. The fact that many
imitations were easily recognisable as such, through more or less conscious and obvious stylistic and iconographic deviations,
can be an argument why the pieces do not appear to have been produced with fraudulent intent. The majority of these
imitations were directly removed from monetary circulation by piercing or looping –or in some cases produced in this way–
and thus never went into monetary circulation, suggesting that these pieces took on a whole new meaning.
Comparable to the jewellery, these coins could be worn on the body, on clothing as
part of the costume or as decoration on weapons and equipment, whereby the possible
symbolic significance for the wearer or wearers and the effect on the outside should not be
underestimated. For in almost all cases the holes or loops have been set in such a way that the
front, and thus the portrait of the Roman emperor, was displayed. Such imitations of Roman
coins, which were presumably produced by the developing elites right across the north of
the Roman frontier and used by them to demonstrate their status provide an insight of this
cultural meeting, a synthesis of Roman and indigenous societies.
In my contribution I would like to present first theories about the origin and function of this
numismatic phenomenon.
Roman coins were exported from the Empire to the north European barbaricum in large numbers, where they entered a new sphere of economic and social interactions. There they were also imitated in significant numbers. Until the mid-3rd century primarily silver denarii were copied, which remained in a primarily economic sphere of economic transactions. Later, gold coins were also imitated and were to a large extent removed from the monetary sphere, for example becoming objects of attire: they were frequently pierced so that they could be worn displaying the head of the emperor on the obverse.
Such imitations of Roman coins, which were produced by the developing elites right across the barbaricum north of the Roman frontier and used by them to demonstrate their status provide an unparalleled microcosm of this cultural meeting, a unique synthesis of Roman and indigenous societies.
This contribution will assess the role of such coins as an expression of the identity of the peoples who inhabited the northern barbaricum, and what this tells us about the relationship between Rome and her northern neighbours.
Im Jahr 2017 fand ein ehrenamtlicher Denkmalpfleger im brandenburgischen Baitz einige keltische Goldmünzen (sog. Regenbogenschüsselchen). Bei der anschließenden systematischen Nachuntersuchung und Grabung vor Ort wurden dann insgesamt 41 Münzen des selben Typs gefunden. Der Fund derartiger Münzen – immerhin der zweitgrößte Hortfund von Regenbogenschüsselchens dieses Typs – stellt eine numismatische Sensation dar, zumal so weit entfernt vom üblichen Verbreitungsgebiet in Bayern, Baden-Württemberg und Hessen. Einige Jahre später wurde auch in Hessen eine weitere Münze des gleichen Typs gefunden – die aber nicht nur den Typ mit den Münzen aus Brandenburg gemeinsam hat. Der Vortrag wird in seinem Hauptteil den Sensationsfund aus Baitz vorstellen, in einem zweiten Teil wird der Neufund des hessischen Regenbogenschüsselchens und seine vollkommen unerwarteten Beziehungen zu den Baitzer Münzen beleuchtet werden.
In meinem Dissertationsvorhaben befasse ich mich mit jenen Imitationen römischer Reichsmünzen, die außerhalb des imperium romanum hergestellt wurden. Dabei handelt es sich um Objekte, die sich in den meisten Fällen äußerlich gut von den originalen Vorlagen unterscheiden. In der Regel sind stilistische Abweichungen an den Darstellungen feststellbar oder etwa bei den Münzlegenden. Dafür, dass nicht von Fälschungen gesprochen wird, kann insbesondere aufgeführt werden, dass viele Imitationen leicht als solche zu erkennen waren, durch mehr oder weniger bewusste bzw. offensichtliche stilistische und ikonographische Abweichungen, weshalb die Stücke nicht in einer betrügerischen Absicht hergestellt worden zu sein scheinen. Dieses Phänomen möchte ich für den mitteleuropäischen Raum nördlich der Donau zwischen Wiener Becken im Westen und den Karpaten im Osten – auf den heutigen Staatsgebieten von Österreich, Ungarn, Serbien und Rumänien – einer Neubewertung unterziehen, da die Forschung für diesen Bereich im Großen und Ganzen dem Forschungsstand der 1920er Jahre zugrunde liegt, aber durch die verhältnismäßig gute Publikationslage und öffentliche Münzsammlungen ein Zugang zum Material gewährleistet ist. Betrachtet werden sollen vorrangig die ab dem 4. Jh. n. Chr. gerade in diesem Raum einsetzenden Imitationen der Solidi bis etwa in die Mitte des 6. Jahrhunderts. Der Großteil dieser Imitationen wurde durch Lochung oder das Anbringen von Ösen dem eigentlichen Geldverkehr entzogen – bzw. eher noch – direkt auf diese Art und Weise hergestellt und ist dadurch nie dem monetären Umlauf zugeführt worden, was darauf hindeutet, dass diesen Stücken eine ganz neue Bedeutung zukam. Zusätzlich zu den Imitationen untersuche ich das ebenfalls wenig beachtete Phänomen der subaeraten Solidi, die ich in einen ähnlichen Kontext, wie die Imitationen einordnen möchte.
Vergleichbar mit etwa Schmuck konnten diese Münzen am Körper, an Kleidungsstücken als Bestandteile der Tracht oder als Zier auf Waffen und der Ausrüstung getragen werden, wobei die mögliche symbolische Bedeutung für den oder die Träger sowie die Wirkung nach außen nicht unterschätzt werden sollte. Denn in nahezu allen Fällen sind die Löcher bzw. Ösen so gesetzt worden, dass die Vorderseite, und damit das Portrait des römischen Kaisers, zur Schau gestellt wurde. Eingebettet in den historischen Kontext und unter Einbeziehung der aktuellen Funde über das eigentliche Gebiet hinaus sowie eines anthropologischen Ansatzes, der über die reine numismatische Analyse hinausgeht und besonders den Aspekt beleuchtet, wie eigentlich nicht-monetäre Gesellschaften mit Geld bzw. Münzen umgingen, soll die Arbeit einen grundlegenden Beitrag zur Erforschung der Imitationen beitragen und die Transformation der Münzen vom ausschließlich monetären Zahlungsmittel zum Symbol der Macht nachvollziehen – in einer Welt, die sich im Kontext der sogenannten „Völkerwanderung“ selbst im raschen Wandel befand.
„Metallurgie“ und „Numismatik“ sind zwei Begriffe, die, so scheint es, wie ,Pech und Schwefel‘ zusammengehören sollten. Denn wo die archäologischen bzw. historisch-literarischen Quellen nicht weiterhelfen, kann die Kombination aus geisteswissenschaftlicher Fragestellung und naturwissenschaftlicher Methode ganz neue Möglichkeiten eröffnen, um neue Erkenntnisse zu gewinnen. Doch ergeben sich aus der Anwendung metallurgischer Analysen an Münzen Probleme, die bloße technische Aspekte übersteigen. Neben der Schwierigkeit, Ergebnisse sinnvoll zu interpretieren, ist es bis heute trotz aller technischen Fortschritte noch nicht möglich, das notwendige Material den Münzen zu entnehmen, ohne dabei Spuren auf der Oberfläche zu hinterlassen. Dieser Umstand fällt besonders dann ins Gewicht, wenn es abzuwägen gilt, wann Erkenntnisgewinn Vorrang vor dem Prinzip der Unversehrtheit von Kulturgütern hat. Als Teil meiner Dissertation innerhalb des IMAGMA-Projekts befasse ich mich am Rande auch mit den dazugehörigen metallurgischen Analysen. Daher soll in diesem Beitrag ein kurzer Überblick über die gemeinsame Geschichte der Numismatik und der Metallurgie gegeben werden und kursorisch die Schwierigkeiten wie die Möglichkeiten nachgezeichnet werden, die eine Verbindung dieser beiden Disziplinen mit sich bringen.
https://www.uni-muenster.de/Ejournals/index.php/ozean/article/view/3394
Im Januar 2020 wurde das Corona-Virus zum ersten Mal in Deutschland registriert. Zur Eindämmung der Pandemie dient das Mittel des ‚Lockdown‘. Das aus dem Englischen stammen-de Wort Lockdown (‚Abriegelung, Ausgangssperre‘) etwa nicht zu unserem Wortschatz. Nicht das eindeutigere Wort Massenquarantäne wird genutzt, sondern ein zuvor in Zusammenhang mit Pandemien nicht verwendeter Begriff (Neologismus). Ziel dieser Maßnahmen ist es, die Begegnungen zwischen Menschen zu minimieren, um so die Infektionsmöglichkeiten zu reduzieren. Die Zahlen sind inzwischen (Ende Januar 2021) besser als in den ersten Januarwochen, die Impfungen haben begonnen. Auf der anderen Seite begünstigt die Jahres-zeit die Ausbreitung, Sorgen vor einer ansteckenderen Mutation herrschen und die Impfungen werden erst im Laufe des Jahres ihre Wirkungen entfalten. Selbst der Numismatiker und Museumsmann entwickelt zwangläufig Interesse an diesen medizinischen Fragen und Diskussionen.
Museumsschließungen sind Folge der Absicht, die Ausgangssperre wirksam werden zu las-sen. Dabei spielt der Umstand, dass für die Museumsbesucher umfänglich Maßnahmen zur Kontaktvermeidung ergriffen wurden und uns kein Fall bekannt ist, in dem ein Museum oder eine Museumsveranstaltung zum ‚Hotspot‘ wurde, keine Rolle. Was soll ich in einer Stadt wie Berlin im Winter, wenn Museen, Theater und Clubs geschlossen sind, wenn keine Veranstaltungen stattfinden dürfen, wenn an vielen Orten ständig eine medizinische Maske getragen werden soll. Mittlerweile wird auch anerkannt, dass öffentliche Verkehrsmittel ein Ansteckungsrisiko bieten. Der Weg zur Arbeit dauert in Berlin im Durchschnitt eine Stunde, und dieser Weg erfolgt überwiegend mit Hilfe öffentlicher Verkehrsmittel. Konsequenter-weise muss ich nun begründen, warum Mitarbeiter nicht in das Home-Office gehen können. Dabei schätze ich es, dass der Arbeitgeber über die gesamte Zeit den individuellen Lebenssituationen (Risikogruppe, Homeschooling u.a.) Rechnung trägt.
In dieser Situation ist Isolierung wichtiger als eine engmaschig kontrollierte Arbeitsleistung, und was ist das Ergebnis? Jeder gibt sein Bestes unter teilweise schwierigen Bedingungen. Vertrauen zahlt sich aus, vielleicht ist auch dies eine Erkenntnis in der Krise und gibt Hoffnung für ein besseres Miteinander auf Augenhöhe. Im Fazit des Jahres 2020 stehen für das Münzkabinett über 3.000 in hoher Qualität online publizierte Münzen (das sind wenigstens 3.000 h Arbeitszeit), eine Zahl über dem üblichen Jahresdurchschnitt. Keine Anfrage blieb unbeantwortet. Bei den meisten Wissenschaftlern ist die digitale Schublade mit fast fertigen Manuskripten deutlich leerer geworden. Ich rechne mit einem Rekord an Publikationen für die Jahre 2020/21. Dies wird auch für das Münzkabinett gelten. In eingeschränkter Weise blieb das Münzkabinett für drängende Aufgaben zugänglich, so dass etwa Marguerite Butcher-Spoerri ihr Forschungsstipendium der Stiftung Preußischer Kulturbesitz zu den provinzialrömischen Münzen bei uns bis Ende November vollenden konnte. Ebenso gingen die eigenen Drittmittelprojekte weiter. Das ging nur, weil die Mannschaft sinnvoll reduziert war und alle sich penibel an die AHA-Regeln (Abstand halten, Hygiene beachten, Alltagsmasken) hielten. Dieses verantwortungsvolle Handeln gilt für die gesamten Staatlichen Museen. Zwar sind einige Mitarbeiter an Corona erkrankt, aber die jeweils von außen hereingetragene Krankheit fand in den Museen keine Weiterverbreitung.
Seit März haben wir neue Techniken zur Durchführung von digitalen Videoveranstaltungen erlernt, dazu musste die Ausstattung angepasst werden, was teilweise in privater Initiative erfolgte. Alle Besprechungen und Tagungen sind in den digitalen Raum verlagert, und es gibt mittlerweile eher mehr als weniger Besprechungen und Workshops.
Wir können uns aber nicht daran gewöhnen, dass es keine Besucher und Begegnungen bei Veranstaltungen mehr gibt. Jeder von uns vermisst die sozialen Kontakte. Das wird mit je-dem Tag deutlicher. Seit dem Sommer haben wir einige Video-Veranstaltungen mit der Numismatischen Gesellschaft durchgeführt. Viele Mitglieder konnten sich bisher mit dem virtuellen Format nicht anfreunden. Dafür erreichen wir solche Mitglieder, die aufgrund des entfernten Wohnortes sonst nur selten teilnehmen können. Die Teilnehmerzahlen sind höher. Es gab sogar einen Antrag auf Neumitgliedschaft unter Hinweis auf das neue digitale Angebot. Wir hoffen trotzdem, bald wieder zu den elf Vortragsveranstaltungen an jedem vierten Donnerstag im Monat im Studiensaal des Münzkabinetts zurückkehren zu können. Bis dahin müssen wir uns mit digitalen Formaten behelfen. Bei geeigneten Themen werden wir zu-künftig darüber hinaus an dem digitalen Videoformat festhalten, dass sich sicher noch weiter entwickeln lässt.
Die Pandemie ist nicht vorbei, noch wissen wir nicht, was daraus wird, ich bin aber dankbar für die Arbeit im Münzkabinett und das Team, das sich in der Krise bislang glänzend bewährt hat.
Das Münzkabinett beteiligte sich an dem Refomprozess, der sich ab Juni an die Evaluierung der Stiftung Preußischer Kulturbesitz durch den Wissenschaftsrat anschloss. Es ist an der Initiative NFDI4objects beteiligt, die im Oktober ihren Antrag einreichte und auch in der Begutachtungsphase weiterhin intensiv zusammenarbeitete. Im September begann das EU-Projekt CHANGE, in dessen Rahmen 12.000 vorkaiserzeitliche kleinasiatische Münzen erfasst werden. Ein viermonatiges Projekt im Zuge eines BMBF-Projektes diente zur Erfassung keltischer Münzen.
These are imitations of Roman solidi from the 4th and 5th centuries AD as well as a new category of imitations - pseudo-solidi - subaerate copied solidi, which are based on genuine Roman coinage from the mid-4th to the 6th century AD.
The study area covers the Pannonian Plain north of the middle Danube with a focus within the Carpathian Arc during the Migration Period.
The Münzkabinett of the Staatliche Museen zu Berlin has one of the most comprehensive collections of ancient coins in the world, with around 152,000 pieces from the Greek and Roman periods up to the end of the 4th century AD. A small part of this collection consists of coins from the archaic and classical periods of ancient Cyprus. This stock of 262 coins has so far remained largely unpublished. The present work is dedicated to the inclusion of the Cypriot coins in a catalogue which was created according to the standards of the Berlin Numismatic Collection in order to facilitate future examination of the coins. Ancient Cyprus is regarded as a "melting pot" of cultures, in which different cultures met and mixed due to Cyprus' special geographical location, which was partly reflected in art and culture. Therefore, this paper examines whether and to what extent the manifold cultural influences manifested themselves on Cyprus' coinage of the archaic and classical periods. In order to address this question, the work was structured as follows: First, the question and the method used to explore the topic will be presented. This is followed by an introduction to the "essence" of Cypriot numismatics, which is intended to facilitate access to the work. The introduction is followed by the catalogue, which is preceded by an overview of the Berlin holdings of ancient coins from Cyprus and gives a brief insight into the acquisition history of the collection. In addition, a brief technical introduction to the catalogue will be given. The fourth part serves as a historical overview of the space and time in which Cypriot coinage developed. This is followed by the most comprehensive part of the work: the processing of the respective mints. This is done in each case in three Parts: 1. historical overview of the mint, 2. presentation of the mint's coins, which are in the possession of the Berliner Münzkabinett, and 3. an attempt to interpret the iconography on the coins presented. In the summary, the most important results of the work are presented in accordance with of the question, followed by a short final consideration.
Roman coins reached the European Barbaricum in large quantities from the territory of the Roman Empire, where they assumed new economic roles and social functions. One consequence of this was the imitation of Roman coins, notably those of precious metals. Gold imitations, in particular, often featured piercings or loops so that they could be worn, serving a communicative function within societies beyond the Roman Empire, a role that has yet to be fully understood.
This paper will focus on solidus imitations discovered in the middle Danube region to describe the various stages of development of imitation Roman coins in Central European Barbaricum. Additionally, it will explore several related numismatic phenomena of the Migration Period spanning the 4th to 6th centuries CE.