Gravestones

Focusing on the religious aversion to representational arts in Islam and folkloric conventions about death and the dead in different regions of Turkey, this chapter focuses on visual culture of death within embodied everyday social practices of the ordinary. Starting from the Ottoman Empire, the funerals and representation of death underwent many changes especially after the establishment of the Republic; various practices coupled with photography according to time, place and conditions were seen. In this sense, this research examines the early memorial photographic examples starting from the Ottoman era and looks at the changing practices of bidding farewell to dead with the effects of modernization, as well as, present day uses of photographic representations in domestic displays of deceased loved ones and its online versions. Through the analysis of death related historical material from Turkey, this research focuses on the peculiar tensions they create as multi layered cultural texts that visually present social attitudes toward death in a Muslim society that is touched by western traces. The arguments made in this chapter are based on unique ‘found photographs’ from Turkey gathered by an archival study realized in antique markets. It is concluded by giving voice to the mourner and their practice of embedding funeral images to domestic sphere.

A 4-fold legal sized handout for those wishing to visit the Old Cambridge Burying Ground in Harvard Square, Cambridge, MA. Summarizes the 1.5 hr tour offered on Saturdays in July and August (including Labor Day Weekend) and for the Cambridge Discovery Tours. Private tours and talks on this topic are also available: see #ocbground and @dwyndlelee for more information.

L’Invention des morts explore les relations que les Mongols entretiennent au quotidien avec leurs défunts. S’appuyant sur une enquête menée chez les pasteurs nomades Dörvöd et dans la capitale Ulaanbaatar de 1999 à 2005, Grégory Delaplace montre que les morts sont au centre de pratiques discrètes, par lesquelles éleveurs et citadins embrassent ou rejettent des idéologies modernistes et socialisent un environnement peuplé de « maîtres » invisibles. L’étude successive des sépultures, des histoires de fantômes et des usages sociaux de la photographie conduit le lecteur à travers les multiples procédés et petites trouvailles tactiques par lesquels les morts sont « inventés » comme les partenaires de relations formelles ouintimes qui subvertissent les cadres institutionnels imposés par l’État et le clergé. En décrivant à travers des matériaux originaux l’art de vivre avec les morts dans la Mongolie d’aujourd’hui, ce livre ne comble pas seulement un manque dans la littérature ethnographique régionale, il propose une méthode renouvelée pour l’anthropologie.

https://www.tiki-toki.com/blog/entry/ne-gravestones/

We are pleased to feature a very unique timeline this month about New England Gravestones and the Iconography of Death which was created by Robin Ness (@rwness) of Brown University.

The timeline shows how the iconography of gravestones changed from the 1600s to the very early 1900s in New England (the northeastern part of the United States) using examples from the creator's ancestors.

Using Tiki-Toki's category band view, stories are categorized into key events and locations (Massachusetts, Merrimack Valley and Maine). The format the timeline creator chose makes browsing the content very intuitive, not to mention that the stories include great images and well-researched, informative text.

So take a moment and explore the timeline - you may come away with a new appreciation for iconography on gravestones!

He sends his students out into the cemeteries “armed with very specific research questions.” To whom are they asking these questions? The living? On many occasions I have heard Ian insist that cemeteries are indeed for the living, that those elaborate burial rituals and markings are our meager attempts to hold back the broad, merciless, and unending river of time. We erect headstones and we leave flowers—a universal yet odd desire to impart beauty and life to the cold and inert. Alongside the flowers we seem increasingly to be leaving such everyday objects as footballs and Bama memorabilia, Christmas boxes, and figurines (mostly angels). What are these mementoes saying? But perhaps Ian wants his students to direct their questions to the dead…by first looking closely at those who came before and then asking the right questions, we ourselves will be changed… By learning about them, we learn from them. We gain insight into the human condition.
[from the Preface by G. Ward Hubbs]

During the Hellenistic period, Boeotia was one of the most important anthemion-stele producing centers in Greece. Due to the antiluxury decree of Demetrios of Phaleron (317-307 B.C.) in Athens, many Athenian artists immigrated to nearby Boeotia, where they continued the attic anthemion-stele tradition.
In the Middle Hellenistic period, while workshops in central, southern (Thebes, Thespiae) and east Boeotia (Tanagra) continued the traditional baroque style, artisans of Chaironeia in northwestern Boeotia differed. Once students of the Thespian baroque masters, the Chaironean craftsmen created a naïv version of the baroque tradition using local, thick grained gray-blue marble. This new naïv style eventually spread throughout Phocis and Doris.

This paper examines the rise and fall of New Jersey's architectural terra cotta industry (c. 1870-1930) through its products. Particular consideration is paid to the factors leading to its growth, the methods employed in manufacturing terra cotta, and the part played by new European immigrants in the success of this industry. Although urban renewal has removed most of the terra cotta factories from the modern landscape, their products still remain. Here attention is focused on the architectural terra cotta that colored urban skylines at the turn of the century and the unusual ceramic gravemarkers that dot the Clay District's cemeteries. These seemingly disparate sources, examined in their historic context, provide interesting insights into the skills, craftsmanship, and ethnicities of the terra cotta workers.

St Catherine's Church, Thomas Street, Dublin, was founded in the late twelfth century and after the Reformation in the sixteenth century became a parish church of the Protestant Church of Ireland. The graveyard to the rear of St Catherine's was converted into a public park by Dublin Corporation in 1985, unfortunately with the loss of many memorials. The present booklet, first published in 1987, includes the inscriptions of the surviving memorials in the church and graveyard and a number of those now lost, together with an historical introduction. Notable individuals who were buried in St Catherine's include Sir William Brabazon, ancestor of the Earls of Meath, in 1552, the Scottish engineer William Mylne in 1790 and Rev James Whitelaw in 1813, while the rebel Robert Emmet was executed in front of the church in 1803.

The book introduces the reader to the Estonian memorial and funeral culture of the Middle Ages and Early Modern era, which was examined by the exhibition of the same name at the Niguliste Museum from 2 November 2012 to 2 June 2013. Visitors to the exhibition were provided with the opportunity to see how Christian death culture is reflected in early ecclesiastical art in Estonia and to learn about the funeral and commemorative customs of the period. The exhibition catalogue explores these topics and presents the works of art and items that were on display.
The text of the richly illustrated book provides interpretations of the tombstones, epitaphs, coat-of-arms epitaphs and other works of sacral art exhibited at the Niguliste Museum. Artefacts of cultural history from collections of Estonian museums and churches, the majority of which are being introduced to the reader for the first time, provide additional information about the funeral ritual customs, and the ways they were conducted. These objects and works of art, most of which are from town churches, primarily represent the funeral and commemorative traditions of the upper class and wealthy middle class. The historical framework of both the exhibition and catalogue starts with the Middle Ages and ends with the 18th century, and includes visual material from both the Catholic and Lutheran periods.

A magyar középkorkutatás számára a legapróbb töredékek és a legelszigeteltebb adatok sem lehetnek közömbösek, amelyek az alig ismert Árpád-kori temetkezési kultúra rekonstruálásá-hoz nyújtanak segítséget, még akkor sem, ha ezek pillanatnyilag nem a kérdések megoldásá-hoz, hanem magukhoz a kérdésekhez vezetnek 1. Az Esztergomi Vármúzeum raktárában található, felmérésre és értelmezésre váró kőfaragvány tömeg számos izgalmas és kihívó kérdést szegez a középkori művészettörténet művelőinek és talán néhány választ is tartogat. 1. IV. Béla, Mária királyné és fiuk Béla szlavón herceg elpusztult síremlékéhez tartozó, vers-tani szempontból és irodalmi stílusát tekintve kifogástalan epitáfium-szöveg, amelynek pon-tos leírását feltűnő figyelmességgel hagyományozta ránk a magyar krónika-irodalom, nem az egyetlen igényesen megfogalmazott sírfelirat az ismert esztergomi emlékek körében 2. A király temetkezőhelye körül kitört, 1272-ig tartó viszály és a szóban forgó négy soros leo-ninus vers tartalma miatt nehezen elképzelhető és bizonytalanul datálható síremlék,, vagy síremlék csoport készítési idejénél jóval korábbi az a vörösmárvány lapba vésett töredékes felirat, amelyet Máthes János közölt 1827-ben, és amelynek az akkori állapothoz képest tovább aprózódott két kisebb töredéke ma is megvan a Vármúzeum kőraktárában 3 (függe-lék 1. sz.). A töredékek márványnak nevezett kemény, jól csiszolható, vöröses mészkő anyaga a Tardos-piszkei kőbányából származik 4. Vastagságuk megegyezik a Szent Adalbert székes-egyház falainak és padlózatának burkolásához is használt lapok leggyakoribb, 8-10 centi-méteres hasítási vastagságával. A nagyobbik darab az egykori teljes tábla felső részéről való, amire a töredék tetejének kevéske épen maradt csiszolt-tehát szabadon álló-maradványa hívja fel a figyelmet. A töredék jobb oldalát nagyjából egyenesen levágó, a felső, ép zárósíkra merőleges felület a darab másodlagos építészeti felhasználásának bizonyítéka. A kövön négy felirati sor teljes szót nem tartalmazó foszlányai olvashatók, amelyek a funkciót mégis sej-tetik: a NATV(S) és a (LA)PIS ISTE szavak leginkább sírfelirat kontextusában értelmesek. E sejtést megerősíthetik a vésett betűket elhomályosító kopásnyomok, amelyek a kő pad-lózaton való vízszintes helyzetét tételezik fel vagy eredeti vagy másodlagos elhelyezése idején. (A hátoldal soha meg nem munkált, durva hasítási felület.) A kisebbik töredék két feirati sor egy-egy egymás felett elhelyezkedő, a kopások miatt csak nehezen felismerhető betűjét mutatja. Az előző darabbal való összetartozását a lap azonos vastagsága és a betűk azonos magassága sugallja, meggyőző bizonyítékot azonban csak a Máthes által közölt, a leírás illusztrálására szánt metszet nyújt. Máthes leírásából és a metszetből az tűnik ki, hogy a kőlap legalább öt soros feliratot hor-dozott. A jelenleg ismert két töredék közül a nagyobbik az 1827-es ábrázolás jobb felső részéből, a kisebb a bal alsó sarokból származik. A felirat, leszámítva az utolsó sortöredék nagyon kétséges helyességű kiegészítését, időmértékes verselésű 5. A kő, hacsak nem volt még több soros a felirat, téglány alakú lehetett. A betűk azonosításában a metszet készítője is több helyen árul el bizonytalanságot, különösen nehéz az utolsó sortöredék megfejtése. Az egyes szám harmadik személyű névmás (El) ellentmondásban van a második sornak a fennmaradt töredékhez képest teljesebb ME LAPIS ISTE szövegfragmentumával. Máthes

Hellenistik ve Roma Dönemleri’nde İç-Batı Anadolu’nun önemli yerleşimlerinden
olan ve bugün Kütahya’nın Çavdarhisar ilçesi sınırları içinde kalan Aizanoi, konumu, gelişimi ve statüsü gereği Hellen kültürüyle yoğun ilişki halinde bulunmuş olan bir Phrygia kentidir. 2016 ve 2017 yıllarında, kent merkezi ve çevresinde, mezar yazıtları üzerinde gerçekleştirilmiş olan çalışmalar bölgenin sosyal tarihinin de aydınlatılmasında yardımcı olmaktadır. Mezar yazıtlarının incelenmesi doğrultusunda elde edilen istatistiksel ve teorik verilere göre kent, tarihsel olarak  Hellen, Makedon, Phryg ve Latin kültürlerini bünyesinde barındırmış, bunun dışında da pek çok bölgeden göç almıştır. Kent ve egemenlik alanı içerisinde bulunan mezar yazıtları, kentin kuruluşu, sahip olduğu politik tavır, ölü gömme gelenekleri ve ölüme karşı geliştirdikleri tavırla da paralellik göstermektedir. Onomastik incelemeler kent nüfusunun ağırlıklı olarak Hellen, Makedon ve Phrygialılardan oluştuğunu göstermektedir. Bölgedeki diğer kentlere oranla Latin kolonizasyonu daha kısıtlı ölçeklerde kalmış, özellikle MS 2.yy’ın başlarından itibaren kent kendini Hellenleştirme adına, dönemin koşullarının da etkisiyle, hem politik hem de kültürel adımlar atmıştır.

Bu demografik yapı, ölüme karşı olan bakış açısını da belirlemiştir. Phrygia’nın özellikle dağlık ve sınır bölgelerinde tespit edilen mezar yazıtlarındaki beddualarda görünen Phryg dili, Phrygialı yerli halkın yaşadığını hem onomastik hem de arkeolojik verilerden tahmin ettiğimiz Aizanoi’da tamamen kaybolmuştur. Kültür dilinin trajik değişimi, kültürün değişimini de beraberinde getirmiştir. Bu süreç içerisinde erken Hıristiyanlık dönemine ait ya da Montanist mezar yazıtları da yok denilecek kadar azdır. Bunun yanında, mezar taşları, kentin içinde barındırdığı meslek ve zanaat dallarını da göstermekte, bu noktada kent örgütünün yapısı hakkında da ipucu vermektedir. Kentte yaşayan halkın etnik ve kültürel yapısı ile inançları hakkında aydınlatıcı yorumlar yapmamızı sağlayan mevcut çalışma sonuçları, bu konuşmanın konusunu teşkil
etmektedir.

Kilmainham, County Dublin, was the site first of a monastery founded by St Maignenn in the seventh century, then of a Priory of Knights Hospitallers founded in 1174. In the 1680s the Royal Hospital, a home for old soldiers, was opened on the site, which building is now given over somewhat incongruously to the Irish Museum of Modern Art. Despite objections by the Royal Hospital authorities the old monastic cemetery at the western end of the Royal Hospital grounds continued to be used, particularly by poorer Dublin citizens. Efforts by the British Army to close access to the cemetery in the 1760s failed in the face of riots and legal proceedings. Bully's Acre was eventually closed in 1832 after the cholera epidemic of that year caused it to become dangerously congested, although two adjoining military burial places for officers and privates continued in use. The present booklet, originally published in 1989, contains the surviving memorial inscriptions from Bully's Acre and the Officers' Burial Ground, as well as an historical introduction.

An analysis of symbols of trade and emblems of occupation on gravestones from certain post-Reformation gravestones in Dundee and Perth.

The length and scope of this paper only allows the subject to be touched upon, there is much room for much deeper analysis.  Many questions were raised in the course of study that time and space prevented from being explored

Osmanlı dönemi İstanbul’unda büyük mezarlıklar olduğu gibi özellikle büyük külliyelerin ve bazı küçük ölçekli yapıların avluları da gömü alanları olarak değerlendirilmiş önemli mekanlar halini almıştır. Cami, türbe, medrese, mektep, sebil, kütüphane gibi yapılar etrafında zamanla oluşan hazirelerde gömülmek bir ayrıcalık haline gelmiştir. Bu ayrıcalık ölen kişinin statüsüyle alakalı olup mezar taşlarındaki bezemelerine de yansımıştır. Bu sebeple bu yapıların en önemlilerinden biri olan İstanbul Şehzade Mehmed Camii haziresinde bulunan üzerinde kaftan görünümlü kumaş bezemeleri olan ve ayrıca yine o dönemin mezar taşı bezemelerini de içinde barındıran bir kısmı tarihsiz olan fakat, tarihli ve 17. yüzyıla ait olan örnekleriyle aynı özellikleri taşıyan bir grup sandukalı mezar taşı bezemelerinin tanıtılması ve değerlendirilmesi amaçlanmıştır. Şehzade Mehmed Camii haziresinde bulunan örnekler tespit edildikten sonra Osmanlının diğer sanatlarında ve İstanbul’un çeşitli bölgelerinde yer alan mezar taşlarında benzer bezemelere sahip olan örnekler belirlenerek değerlendirilmiştir.

This book details all of the extant gravestones from the church and graveyard of Killora, Craughwell, Co. Galway and provides a detailed history of the history and mythology surrounding the site from the Early Christian period down to modern times. Each gravestone entry is numbered to a corresponding map (allowing you to find an individual stone on the ground) and details the inscription and condition of the stone. A detailed analysis of the carving style and decorative elements is also given for each. There are a number of b/w photographs showing the church and graveyard before and after the cleanup in 1995, along with some shots of fragments of Medieval cut stone which survive on the site.

The extended family of my maternal aunt, Eva McHugh Landy (1922-2004), has been traced through six generations (from her great grandparents to grand nieces and grand nephews) using memorial inscriptions, wills and newspaper reports as source genealogical material. At least one case study in each area is presented based primarily on material in Eva’s family history archive. For example, the Mac Aodha (McHugh) memorial inscription on the gravestone in Kilconly Cemetery, Tuam, Co Galway features nine family members of her paternal ancestors covering three generations from c1800 to 1949. The interpretation of the McHugh inscription was assisted by information gleaned from the 1924 Will of Eva’s uncle, Seán Mac Aodha (John McHugh, d. 1934). The Obituary Notices for Patrick H McHugh (Eva’s first cousin) and for Thomas Higgins (husband of Eva’s aunt, Mary McHugh) helped to identify some of our American cousins. It was also possible to assemble five generations of descendants of Eva’s great grandparents, Thaddeus (c 1800-1893) and Nóra (c 1809-1889) McHugh, Belmont, Tuam, Co Galway. A Descendant Register Book from BrothersKeeper.com was used and includes more than 100 members of Eva’s extended family (Appendix 1, p 10). More work needs to be done, to complete this study, particularly in relation to Eva’s great grandparents, and her overseas cousins.

Zile Anadolu’daki en önemli tarih ve kültür merkezlerinden birisidir. Zile’nin Irak’ta hüküm süren Ninova Kraliçesi Semiramis tarafından kurulduğuna inanılmaktadır. Hititler Zile’ye Anziliya adı vermişler ve onlardan sonra Romalılar tarafından yönetilmiştir. Roma İmparatoru Sezar ve Pontus Kralı Farnake M.Ö. 47’de Zile yakınlarında büyük bir meydan savaşı yaparlar. Savaşı Sezar kazanır ve “Geldim, gördüm, yendim” tarihi sözünü söyler. Zile’de çeşitli etnik gruplar yaşamaktadır ve Sıraç Topluluğu bunlardan birisidir. Sıraçlar, Oğuzların Beydili Boyuna bağlı, etnik olarak saf Türklerdir. Sıraçlar Alevi (Kızılbaş) inanışına bağlıdır. Sıraç inanışında Hubyar ve Anşabacılı olmak üzere iki kol bulunmaktadır. Zile’ye bağlı Acısu Köyü, Sıraçların Anşabacılı kolu inanışının doğduğu yer ve merkezidir. Bu köyde Anşabacılılara ait bir türbe bulunmaktadır. Anşa Bacı ve eşi Veli Babanın mezarları bu türbe içindedir. Türbenin etrafı, Anşabacılı koluna inanan kişilerin mezarlarının bulunduğu bir mezarlık ile çevrilidir. Mezarlıkta hemen hemen her mezarın başında, her birinin tarzı, şekli ve rengi farklı mezar taşları bulunmaktadır. Bu çalışma, Acısu Köyündeki bu mezar taşlarını tanıtmak amacı ile gerçekleştirilmiştir.

Scopul și obiectul de studiu al acestei lucrări este de a contura traiectoria parcursă în realizarea unui film documentar, de la aspectele teoretice generale de definire și clasificare, la cele particulare care țin de alegerea temei și a subiectului și la cele practice rezultate din experiența personală. Obiectivul major este de a plasa filmul documentar „După FEL și CHIP”, între manifestarea artistică cinéma vérité (ca stil de filmare și abordare regizorală) și eseu cinematografic (ca structură și forma finală a montajului).
Puteti vedea filmul aici: http://vod.antropodocs.com/as-you-like-it/

BRITISH STATE HAS NO REGARD FOR GRAVES OF BRITISH OFFICERS EVEN IF THEY WERE AWARDED VICTORIA CROSS
April 2022
DOI: 10.13140/RG.2.2.30611.96802
Project: MILITARY HISTORY
Agha H Amin

BRITISH STATE HAS NO REGARD FOR GRAVES OF BRITISH OFFICERS EVEN IF THEY WERE AWARDED VICTORIA CROSS https://csio-ops.com/blogs/news/british-state-has-no-regard-for-graves-of-british-officers-even-if-they-were-awarded-victoria-cross

As humanity has moved through time, many changes to cultures and beliefs have occurred globally, and the grave marker is no different. This paper begins with a short historical review of British history as it may relate to burial practices and grave markers in the periods from the Iron Age through to the English Renaissance. Then, it shifts its focus to examine changes in the popularity of gravestone motifs and styles specifically, and the changes they have undergone from approximately the seventeenth century through to the nineteenth. The paper particularly touches on the possible religious, cultural, and societal shifts which occurred during various periods in British culture and history, and how these events and changes could have been a catalyst to changes in burial practices and gravestone imagery.
The current amount photographic research or photographic archival information on British headstones, specifically on the headstones of commoners, is not complete enough to make as detailed assumptions and analyses as would be preferred, which is a large limitation to this study as it currently stands. As such, this paper also poses as an unofficial research proposal for a photographic research catalogue of British gravestones and subsequent research into the such topics I will explore in this paper, that I now hope to be able to continue work on in my academic future. The aim of this research is to explore how social and cultural shifts and changes may affect the burial practices of a culture and the population throughout centuries.

The ancient city of Pednelissos is located within the borders of Antalya province and it is possible to suggest that it was inhabited at least from the beginning of the Hellenistic Period. There are three figures on the grave stele from Pednelissos. To the left, Hermes dressed in chlamys is leaning against an angular plaster or wall. Also it has kerykeion, talaria and maybe petasos. In this stele, Hermes is found especially as a psychopompos. Hermes, by being depicted smaller than the man who owns the grave stele on his right, also enables the deceased to become a hero. In addition, Hermes keeps his feet crossed like the servants on the grave steles and exhibits a mourning pose for the dead. It is possible to consider Hermes' mourning for the dead as a kind of farewell scene. Hermes may also have assumed a role as the savior and supporter of the deceased person and perhaps his relatives. It can be said that Hermes’ stance was modeled Praxiteles’ Leaning Satyr. The man who owns the stele becomes a hero here, and the origin of the divine stance seen in him must be a Zeus statue of Pheidias. The lion on the stele, on the other hand, symbolizes the stele owner's victory over death and attaining immortality and the power of this person, in addition to its protective feature. The Pednelissos Grave Stele is a frameless grave stele, Attic type or produced in this tradition. The stele may have been made by a local craftsman who knew the Attictype grave stele tradition in Pednelissos, or by a traveling craftsman who stopped by here. It is also possible, though less likely, that the stele will be traded to order. In addition, it is possible to accept the grave stele as a unique work, in which the variation of the two works belonging to Pheidias and Praxiteles is given successfully. The Pednelissos Grave Stele can be dated to the Late Hellenistic Period, around 150-50 BC.

Marcus Abbott, Laila Kitzler Åhfeldt, Tertia Barnett, Bruce Bishop, David Breeze, David Caldwell, Murray Cook, Neil Curtis, Audrey Dakin, Fiona Davidson, Stephen Driscoll, Iain Fraser, Shannon Fraser, Simon Gilmour, Moira Greig, Marta Díaz Guardamino, Mark Hall, Strat Halliday, Isabel Henderson, John Hughes, Fern Insh, Andy Meirion Jones, Siân Jones, Dianne King, Murdo Macdonald, Cait McCullagh, Peter McKeague, Adrián Maldonado, Gilbert Márkus, Hugh Morrison, Colin Muir, Gordon Noble, Emma O’Riordan, John Picken, Edwina Proudfoot, John Raven, Anna Ritchie, Matthew Ritchie, Judith Roebuck, Christa Roodt, Nigel Ruckley, Jeff Sanders, Ian G Scott, Bill Stephens, Antonia Thomas, George Thomson, Sharon Webb, Iain Ross Wallace, Kelsey Jackson Williams CASE STUDIES

In order to facilitate the research of students and other scientists on archaeological material regarding the ancient Thessaloniki and especially the western part of it up around the western area of the ancient fortification, we contribute the following work which is the text of a speech given on Tuesday, April 19 2016 at 19:00 in the "Manolis Anagnostakis" auditorium in Thessaloniki City Hall.

This talk briefly summarizes the main archaeological sites and monuments of this region. The event was organized by the 2nd Municipal ward of Thessaloniki, having as main target the briefing of citizens about the archaeological identity of their neighborhood.

The illustrations accompanying the text are subject to copyright laws.

In diesem Aufsatz werden die oberirdischen Grabmarkierungen der Gräberfelder griechischer Koloniegründungen in der Magna Graecia näher betrachtet, d. h. entlang der Westküste Kampaniens, der Küste des ionischen Golfes von Taras über Metapont und Herakleia Minoa bis Lokroi Epizephyrioi und der Ost- und Südküste Siziliens von Naxos bis Selinus.
In vorliegender Zusammenstellung der bekannten großgriechischen Grabmarker zeigt sich ein breites Spektrum oberirdischer Grabmarkierungen. Lokale Kreationen, kolonieübergreifende Typen und Einflüsse aus dem Mutterland sind gleichermaßen zu beobachten.
Die unterschiedlichen Grabbekrönungen der Kolonien kommen in verschiedener Kombinationen vor; wir finden jeweils mehrere Grabmarkertypen pro Ort. Ein gewisser Zeitbezug der verbreitet auftretenden Typen läßt sich ebenfalls beobachten: die Grabskulptur gehört der archaischen Zeit an, der Grabbau der spätarchaischen und klassischen Zeit, die Epitymbia v. a. der hellenistischen, das figürliche Relief der klassischen und hellenistischen Zeit, und mit dem Aufkommen der Naiskoi werden Grabbau, Relief und Skulptur in einem Grabmal vereint.

DZMITRY SKVARCHEUSKI
STONES WITH THE IMAGE OF A POLE WITH A SEMICIRCLE:
THE PROBLEMS OF ORIGIN, AREA, CLASSIFICATION AND DATING

This article is about stones with images containing the symbol of a pole with a semicircle. This symbol had a cosmological meaning and represented world axis and heavenly sphere. The author considers the problem of attribution of the sign: area, chronology, meaning, and typology. According to the information received, the tradition of using tombstones with symbol of a pole with a semicircle existed from the 15th/16th centuries to the 1940-ies. It was the regional tradition. Area of the tombstones with this sign may be associated with the medieval burial tradition of stone tombs («zhalniki») in the Duchy of Polotsk. The tradition of using tombstones with symbol of a pole with a semicircle
may be associated with funeral rites of Krivichy and their descendants. Perhaps this symbol is a sign of particular ethnic and cultural development in the Balto-Slavic contact zone. The symbol of a pole
with a semicircle reflects the mythological and religious ideas of the population of a defined region. This sign had roots in the pagan ideas and it is a result of interaction between the pagan and christian beliefs.

Keywords: gravestones, sacred stones, funerary symbolism, funeral rite, culture of stone tombs, the Principality of Polack.

A disszertáció célja, hogy a császárkori „bennszülött” női viseletről egy új összefoglalást nyújtson. A rendelkezésre álló forrásanyag alapján az egyik legkutathatóbb terület Északkelet-Pannonia térsége, ahol a kelta eraviscus törzs lokalizálható. Disszertációmban a „bennszülött” női viseletet a római szokás szerint állított síremlékek ábrázolásai alapján vizsgálom, elemzéseimbe bevonva az ismert tárgyi anyagot is.
A disszertáció első kötete, mely tartalmazza a törzsszöveget szövegközi ábrákkal, az ábrák jegyzékét és az irodalomjegyzéket.