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Fold it - recent finds of figural handles from Roman folding knives in Denmark
No full textA few years ago, an article on Roman folding knives in Denmark would have been unfeasible, as this small and distinct group of artifacts had not yet been identified. However, the increasing use of metal detectors in Denmark has led to the discovery of numerous new artifact types, some readily identifable and others less so. The identification process of this new type began with the discovery of a complete folding knife in Gl. Rye cast in copper alloy. While initially proposed to be of Roman origin, this attribution was met with skepticism due to the early dating it implied, resulting in a lack of consensus among both detectorists and archaeologists.Subsequent discoveries of similar folding knife fragments have since emerged, beginning with a find from Oslo, Norway, followed by two fragments from different regions in Jutland, Denmark, as well as a fragment from a distinct handle type uncovered in Zealand, Denmark. To date, these represent the entirety of identified fragments from southern Scandinavia. This article presents and contextualizes this material. Moreover, the article argues for a Roman provincial origin of these artifacts. It examines their iconographic features and archaeological context, complemented by metallurgical analyses.These analyses reveal a metal composition closely resembling that of Roman sestertii minted in the 1st century AD. It also narrows the origin of the copper ore to two different areas within the Roman Empire, supporting the proposed Roman provenance.A few years ago, an article on Roman folding knives in Denmark would have been unfeasible, as this small and distinct group of artifacts had not yet been identifi ed. However, the increas-ing use of metal detectors in Denmark has led to the discovery of numerous new artifact types, some readily identifi able and others less so. The identifi cation process of this new type began with the discovery of a complete folding knife in Gl. Rye cast in copper alloy. While ini-tially proposed to be of Roman origin, this attribution was met with skepticism due to the early dating it implied, resulting in a lack of consensus among both detectorists and archaeologists.Subsequent discoveries of similar folding knife fragments have since emerged, beginning with a fi nd from Oslo, Norway, followed by two fragments from diff erent regions in Jutland, Denmark, as well as a fragment from a distinct handle type uncovered in Zealand, Denmark. To date, these represent the entirety of identifi ed fragments from southern Scandinavia. This article presents and contextualizes this material.Moreover, the article argues for a Roman provincial origin of these artifacts. It examines their iconographic features and archaeological context, complemented by metallurgical analyses. These analyses reveal a metal composition closely resembling that of Roman sestertii minted in the 1st century AD. It also narrows the origin of the copper ore to two diff erent areas within the Roman Empire, supporting the proposed Roman provenanc
Melchior Lorck. Catalogue Raisonée, Part two, volume 5
No full textMelchior Lorck (born in Flensburg in 1526 or 1527, died c. 1583) was the first Danish artist to achieve international renown. Trained in the tradition of the German Kleinmeister, Lorck is considered one of the most original artists of sixteenth-century Europe, with a style and choice of motifs that are both austere and unique
Notes on cultural heritage, botany and non-botany – for art historians
No full textDette paper adresserer den særlige form for planteblindhed, der knytter sig til kulturarven af domesticerede kulturplanter: Vores arv af gamle sorter af grøntsager, korn og andre afgrøder lader til at undslipper vores institutionelle hukommelse, og ansvaret for hvis pleje i bemærkelsesværdig grad nu er overladt i hænderne på hobbyfrøsamlere. Paperet leder efter rødderne til denne særlige type planteblindhed i Carl Linnés tænkning og hans botaniske taksonomi, der adskiller natur fra ikke-natur – botanik fra ikke-botanik. Jeg undersøger traditionerne for botanisk illustration i 1600-tallets florilegier, Flora Danica (1761–1883) og endelig i Ellen Backes (1891–1976) illustrationer af korn, grøntsager og frugt, udført på Den Kongelige Veterinær- og Landbohøjskole mellem 1933 og 1958. Afslutningsvis foreslår jeg, at de gamle landsorter og arvesorter af vores domesticerede planter kan betragtes som spøgelser fra fortidige naturkulturer: nicheløse levende døde, der hjemsøger frøsamleres haver længe efter, at deres naturligt-kulturelle habitat er forsvundet.This paper addresses a particular kind of plant blindness that concerns the cultural heritage of the domesticated crop plants. Our heritage of heirloom vegetables, fruits, cereals and other crop and culture plants seem to escape our institutional cultural memory and its care is to a remarkable extent now left in the hands of hobby seed savers. This paper looks for the roots of this particular type of plant blindness in the thinking of Carl Lineaus and his central taxonomy separating nature from non-natur – botany from non-botany. I address the traditions of botanical illustration in seventeenth-century florilegia, Flora Danica (1761-1883) and centrally the cereal, vegetable and fruit illustrations of Ellen Backe (1891 – 1976) created at the Royal Veterinary and Agricultural University between 1933 and 1958. I conclude by proposing that the old breeds and heirloom varieties of our domesticated plants could be regarded as ghosts of naturecultures past: Nicheless living dead that are roaming seed saver gardens long after their naturalcultural habitats have disappeared
Holocene inundation of Guldborgsund near Nykøbing/Falster:geobotanical investigations into sea level rise
No full textBeautiful as the Encounter Between a Rabbit's Ear and an Axe Blow on a Dinner Table:On Louise Hindsgavl's sculptural collisions
No full textMy essay focuses on pursuing some significant art and cultural historical traces in Louise Hindsgavl's work. The first and most comprehensive part concentrates on her many years of work with porcelain and the methods and themes that flow through it. The last part examines the striking shift to stoneware and a completely new motif circle, which occurred around 2020
KNV01444-01 og -02 L3 LIL-VOR Kabeltracé
Get PDFOvervågning af 4 m bredt og 7 km langt tracé til nedgravning af elkabel. Udover spredte kulturhistoriske anlæg fremkom der tre aktivitetsområder syd/sydvest for Ornebjerg med større anlægsintensitet. Der blev samlet udskilt dele af seks konstruktioner