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KKNV01634-01 Ting Jellinge, Bakkegård:Beretning for arkæologisk eftergravning af sølvdeponering fra vikingetid
No full textEfter fundet af en sølvdeponering med brudsølv og kufiske mønter fra o. 900 ved detektorafsøgning gravede Museum Sydøstdanmark et præparat op, som senere blev udgravet på museet. Både før og efter fundet af depotet var der fundet adskillige metalgenstande fra yngre jernalder med detektor på samme mark, hvilket tydede på, at der var tale om en bebyggelse.I september 2025 foretog museet en eftergravning af deponeringen. I et mindre felt var yderligere sølv fra depotet i pløjelaget og ved undergrundsniveau fremkom spor af et ca. 38 m langt krumvægshus med velbevaret vægforløb. Deponeringen er sket 2 m fra husets nordøsthjørne, men om de er samtidige, afventer C14-dateringer huset. I søgegrøfter, der omfattede ca. 1,5 ha. fandtes yderligere tegn på tilstedeværelse af 11 treskibede huse, orienteret Ø-V.<br/
KNV01406 Ådalen 16
No full textBeretning for forundersøgelse og efterfølgende udgravning af et markstykke i bydelen Køge Nord. På baggrund af forundersøgelsen af et 3,9 hk areal, der blev undersøgt i forbindelse med Køge kommunes udstyknings- og infrastrukturplan, blev der indstillet et areal på 2,7 hk til egentlig undersøgelse. Under forundersøgelsen blev der registreret jordfaste fortidsminder i form af treskibede hustomter, gruber og kogegruber. Under den efterfølgende arkæologiske udgravning blev der registreret 22 hustomter C14 dateret fortrinsvist til perioden yngre førromersk jernalder. Derudover blev der undersøgt kulturspor i en lavning, der var centralt beliggende i undersøgelsesområdet midt i den forhistoriske bebyggelse. Deri fandtes spredte gruber og løsfundne genstande. Lokaliteten udgør en mindre del af et større førromersk bopladsareal. Ud over den førromerske bebyggelse ses der også begrænsede bebyggelsesspor dateret til neolitikum og bronzealder
Kunstens planteomsorg
No full text“Den, som vil have blomstrende Planter i sin Stue, maa e l s k e dem frem”. Sådan skrev gartneren Stephan Nyeland i 1890 og opfordrede til “Kjærlighed, Omhu og Omtanke” i omgangen med stueplanter. Stueplanter blev udbredt som fænomen i 1800-tallet, og den omhu, Nyeland opfordrer til, kan aflæses i mange kunstneres gengivelser af stueplanter. Det gælder ikke mindst hos Christen Købke, Johan Th. Lundbye, Hans Smidth og Anna Ancher. Kapitlet ser på disse kunstneres gengivelser af to af tidens populære stueplanter – pelargonie og vedbend – for at undersøge den flertydige omsorg over for planter, som prægede tidens kunst og botanik. I teksten gives der plads til de planter, der ofte overses i kunsthistorien, forgennem dem at åbne for en ny forståelse af vores relation til den planteverden,der er så afgørende for vores eksistens
Curating the Anthropocene: Roundtable
No full textIn June 2021, we hosted the conference Nordic Nature: Art, Ecology, Landscape at KODE Art Museums and Composer Homes in Bergen, Norway. As a part of this conference, we hosted a roundtable on curating, ecology, and the discourse of the Anthropocene with leading figures in ecocritical Nordic art history. We have recreated this roundtable with a discussion among the participants for the edited volume. In the roundtable, the scholars discuss why bringing an ecocritical and decolonial lens to museum practices is important and how they have enacted such practices in their work
Framing the Narratives: The Decoration of the Borders and Latticework of the Golden Altars
No full textGilded copper plates featuring narrative scenes and single figures constitute the main elements of the golden altars, and they have been the subject of much attention over the years. No less important to the experience of an altar and its composition, albeit more neglected in the literature, are the frames, borders and latticework that surrounded and formed the background of the narratives and figures. Although damaged and incomplete, the frames and borders were originally richly decorated with gilded and brown varnished, engraved and embossed copper plates, which feature numerous motifs and bands of inscription, the latter conveying messages of their own and often closely associated with specific scenes and figures. The remainder of the borders and images may at first glance look like pure decoration, but on some of the altars independent meanings and narratives can be made out behind the design and decoration of the framework. The motifs can hardly have been chosen at random; nor was their placement on the frontals and retables accidental. Similar motifs can be seen in Romanesque stone sculptures, on fonts and church buildings , as well as in frescoes and other forms of decorated objects from church interiors, including reliquaries, book covers and the vasa sacra used in the service. They are also found on a much smaller scale on some of the metal jewellery of the time, a group of objects that has seen a dramatic increase in recent decades. The jewellery supplements the altars and church decoration, and provides an insight into the general development of style and fashion, and especially into how the Christian message and world view, which was communicated by the Church, gradually became an integrated part of everyday life.Gilded copper plates featuring narrative scenes and single figures constitute the main elements of the Danish, medieval golden altars. They have therefore been the subject of a great deal of attention. No less important to the experience of the altar and its composition are the frames, borders and latticework that surrounded and formed the background of the narratives and figures. Although often damaged and incomplete, the frames and borders on the individual altar parts were richly decorated with gilded and brown varnished, engraved and embossed copper plates, which feature numerous motifs and bands of inscription. Decorative in themselves, the inscriptions also convey messages of their own and are often closely associated with specific scenes and figures. The remainder of the borders and images may at first glance look like pure decoration, but on some of the altars independent meanings and narratives can be made out behind the design and decoration of the framework. The motifs can hardly have been chosen at random; nor was their placement on the frontals and retables accidental. The use of motifs and patterns was not limited just to these altars either. The same motifs can be seen in Romanesque stone sculptures, on fonts and church buildings, as well as in frescoes and other forms of decorated objects from church interiors, including reliquaries, book covers, and the vasa sacra used in the service. They are also found on a much smaller scale on some of the metal jewellery of the time. The jewellery supplements the altars and church decoration and provides an insight into the general development of style and fashion, especially into how the Christian message and worldview, which was communicated by the Church, gradually became an integrated part of everyday life
