Page 35 - Kavur, Boris. Everything counts (in small amounts) … Koper: University of Primorska Press, 2015.
P. 35
des hidden older decorational ele- everything counts 35
ments such as stylized face masks and
bird’s heads camouflaged in abstract Decorated frontal side of the sword
decorations. scabbard from Formin.
The scabbard decoration produced
with deep incising features a depic-
tion which is almost enchanting due
to its careless composition. It seems
that the producer of this completely
asymmetrical adornment struggled
with the worked material and the sur-
face which he tried to fill according to
the aesthetical norms of his culture.
Disharmony of the depiction, small
mistakes in execution and a complete
deconstruction of the composition
demonstrate that the best preserved
sword from Formin was decorated by
an artisan who was hardly a master of
his trade.
Decorations of sword scabbards from
Formin demonstrate the stylistic het-
erogeneity, the melting of traditions
and innovations, the transitoriness
of stylistic elements from the Alpine
and Pannonian world as well as the
immense creative potential of work-
shops of the Eastern Celts at the end
of 4th and beginning of 3rd century
BC.
ments such as stylized face masks and
bird’s heads camouflaged in abstract Decorated frontal side of the sword
decorations. scabbard from Formin.
The scabbard decoration produced
with deep incising features a depic-
tion which is almost enchanting due
to its careless composition. It seems
that the producer of this completely
asymmetrical adornment struggled
with the worked material and the sur-
face which he tried to fill according to
the aesthetical norms of his culture.
Disharmony of the depiction, small
mistakes in execution and a complete
deconstruction of the composition
demonstrate that the best preserved
sword from Formin was decorated by
an artisan who was hardly a master of
his trade.
Decorations of sword scabbards from
Formin demonstrate the stylistic het-
erogeneity, the melting of traditions
and innovations, the transitoriness
of stylistic elements from the Alpine
and Pannonian world as well as the
immense creative potential of work-
shops of the Eastern Celts at the end
of 4th and beginning of 3rd century
BC.
