Thracian Tomb Painting

Chapter 13 13.1 Introduction although this chapter is dedicated strictly to the decoration of thracian tombs, such decoration should be perceived as part of a sacred unit, the elements of which including tumulus, tomb, structures for commemorative rites, grave goods, and decoration-complement one another. They build a complex, both material and spiritual, that aims, through architectural forms, objects, and effigies, to represent the imaginary passage of the deceased from this world to the next and their glorious existence there. In this sense, our use of the term "decoration" is somewhat inexact and relative: although subject to aesthetic norms and decorative traditions, the paintings and sculptures in the thracian tombs were primarily a symbolic expression of a spiritual reality. For us moderns, these funerary complexes represent some of the most revealing evidence of the religion, mythology, and eschatology of our predecessors, as well as their personal emotions. Thracian chamber tombs can be classified into two basic types, according to the plan and shape of the rooms: tombs with a rectangular funerary chamber and additional rooms; and tombs with a circular funerary chamber and additional rooms. the additional rooms are also either rectangular or circular, with roofing similar to that of the funerary chamber (Valeva 2013). the shape of the rooms was fundamental for the design of the interior decoration. Both types of tomb reached their greatest popularity in the early hellenistic period. Cist tombs had previously been constructed in the second half of the fifth and early fourth century 1 in areas under noticeable Greek influence. Many thracian chamber tomb interiors have some embellishment, usually rather simple. there are, however, several with sophisticated painted decoration and one remarkable tomb, the interior design of which combines sculpture and painting. the presence of such decoration, especially figural, should be regarded as proof of both the prosperity and sophistication of the individual who commissioned the work and was likely to be interred there.

Some of the monumental chamber tombs, which are numerous in Thrace, have painted or sculpted decoration. The appearance of these luxurious monuments of funerary art is related to the foundation of the realm of the Odrysae in the early 5th century BC, however, painted tombs  are rare before the Hellenistic period. The participation of Thracian units in the military campaigns of Alexander and his successors provoked an influx both of money and new ideology,  the decorated monumental  chamber tombs of Thrace becoming perfect illustrations for the Hellenistic cultural koine: Thrace is situated on the crossroad between
Europe and Asia Minor, on a spot, where Greece met Anatolia. Thrace was also the closest neighbour of Macedonia, from where spread new principles and fashion in royal art. Thracian idiosyncrasies were manifested in the adaptation of Greek order ornamentation to the tholos
tomb shape and the interpretation of Greek iconography. The variety in iconography and style in Thracian tombs is impressive. While the Ostrusha paintings can be qualified as the most delicate, the composition of the frieze in the Kazanlak tomb is the most complex and
harmonious. Among the Thracian paintings there are a few of  outstanding importance for the history of ancient painting: these are the representation of Thetis in the Ostrusha tomb, the rider from the composition in the lunette in the Sveshtari Tomb with caryatids, the painted coffered ceiling in Ostrusha tomb, the naked hunter from the frieze in Alexandrovo tomb. The decorated monumental tombs are a luxurious funerary art, but they are first and foremost the manifestation of self-representation of the Thracian rulers.