The early Bronze Age on the Isle of Man:

2015 ◽  
pp. 214-223
Author(s):  
Jenny Woodcock
Antiquity ◽  
2020 ◽  
Vol 94 (378) ◽  
pp. 1444-1463
Author(s):  
Rachel J. Crellin ◽  
Chris Fowler ◽  
Michelle Gamble

Abstract


2020 ◽  
Vol 86 ◽  
pp. 237-260 ◽  
Author(s):  
Amber Sofia Roy

The perforated stone battle-axes and axe-hammers of Early Bronze Age Britain have been used either to interpret the status of individuals they were buried with or have been overlooked; this is especially the case with axe-hammers. Previous understandings have assumed battle-axes were purely ceremonial, while the rougher axe-hammers were neither functional nor prestigious, being too large and too crude to be prestige items. Studies of the 20th century were focused on creating a typology and understanding the manufacture and petrological sources of the stone, concluding that haphazard exploitation of stone was used to create a variety of different shapes of both implements. This paper revisits the question of how these artefacts were used. It presents the results of the first large-scale application of use-wear analysis to British Early Bronze Age battle-axes and axe-hammers, from northern Britain and the Isle of Man. Combining the results of the wear analysis with experimental archaeology and contextual analysis, it is argued that these objects were functional tools, some of which saw prolonged use that might have spanned multiple users. The evidence shows that the few implements found in burial contexts were both functional and symbolic; their inclusion in burial contexts drawing upon relational links which developed through the itineraries of these objects. It is also apparent that use and treatment were similar across all types of battle-axe and axe-hammer, with some regional variation in the deposition of axe-hammers in south-west Scotland. It is concluded that battle-axes and axe-hammers had varied and multiple roles and significances and that it is possible to discover what each artefact was used for by deploying a use-wear analysis methodology.


Author(s):  
Michael Lindblom ◽  
Gullög Nordquist ◽  
Hans Mommsen

Two Early Helladic II terracotta rollers from the Third Terrace at Asine are presented. The objects, used to impress relief decoration on pithoi and hearths, are unique in that no other examples are known from the Early Bronze Age Aegean. Their origin is discussed based on chemical characterization and their depositional contexts are reviewed from an archaeological perspective. Although there are no known impressions from these rollers on pithoi and hearths at Asine, it is shown that their owners surrounded themselves with different objects featuring similar glyptic impressions. Two such impressions find identical parallels at Tiryns and the combined evidence strongly suggest that Asine was the home for one or several potters who produced Early Helladic impressed hearths and pithoi.


Author(s):  
Sarah P. Morris

This article assembles examples of an unusual vessel found in domestic contexts of the Early Bronze Age around the Aegean and in the Eastern Mediterranean. Identified as a “barrel vessel” by the excavators of Troy, Lesbos (Thermi), Lemnos (Poliochni), and various sites in the Chalkidike, the shape finds its best parallels in containers identified as churns in the Chalcolithic Levant, and related vessels from the Eneolithic Balkans. Levantine parallels also exist in miniature form, as in the Aegean at Troy, Thermi, and Poliochni, and appear as part of votive figures in the Near East. My interpretation of their use and development will consider how they compare to similar shapes in the archaeological record, especially in Aegean prehistory, and what possible transregional relationships they may express along with their specific function as household processing vessels for dairy products during the third millennium BC.


Author(s):  
Erika Weiberg

The point of departure for this paper is the publication of two Early Helladic sealing fragments from the coastal settlement of Asine on the north-east Peloponnese in Greece. After an initial description and discussion they are set in the context of sealing custom established on the Greek mainland around 2500 BCE. In the first part of the paper focus is on the apparent qualitative differences between the available seals and the contemporary seal impressions, as well as between different sealing assemblages on northeastern Peloponnese. This geographical emphasis is carried into the second part of the paper which is a review and contextualisation of the representational art of the Aegean Early Bronze Age in general, and northeastern Peloponnese in particular. Seal motifs and figurines are the main media for Early Helladic representational art preserved until today, yet in many ways very dissimilar. These opposites are explored in order to begin to build a better understanding of Peloponnesian representational art, the choices of motifs, and their roles in the lives of the Early Helladic people.


Author(s):  
John K. Papadopoulos

This paper begins with an overview of the bronze headbands from the prehistoric (Late Bronze to Early Iron Age) burial tumulus of Lofkënd in Albania, which were found among the richest tombs of the cemetery, all of them of young females or children. It is argued that these individuals represent a class of the special dead, those who have not attained a critical rite de passage: marriage. In their funerary attire these individuals go to the grave as brides, married to death. The significance of the Lofkënd headbands is reviewed, as is their shape and decoration, but it is their context that contributes to a better understanding of Aegean examples, including the many bronze, gold, and silver headbands found in tombs from the Early Bronze Age through the Early Iron Age, as well as those dedicated as votive offerings in sanctuaries. In addition to discussing the evidence for headbands in the Aegean and much of southeast Europe, this paper also attempts to uncover the word used in this early period in Greece for these distinctive items of personal ornament. In memory of Berit Wells.


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