Ancient Graffiti (Archaeology)

Le scritte dei pastori del Monte Cornon in Trentino (Italy): nuovi dati dalla ricerca

by Luca Gaetano Pisoni

"Estudio histórico-documental y gráfico de la cortijada y ermita del Pozuelo (Lorca)”.

by Eva Celdrán Beltrán

(con Velasco Felipe, C. y Andúgar Martínez, L.) En: Alberca nº9. Revista del Museo Arqueológico de Lorca (Murcia). 2011. En prensa.

Nuevos esgrafiados procedentes de Contrebia Belaisca

by Maria Jose Estaran

Co-authored with G. Sopeña, J. A. Hernández Vera y F. J. Gutiérrez

Labirinti a Pompei: a proposito di CIL IV 2331

by Giulia Sarullo

in “Oebalus” 3 (2008), pp. 203-224.

Un fragmento cerámico con grafitos bilingües, y la pervivencia del sustrato ibérico en la ciudad romana del Tosal de Manises (Albufereta, Alicante)

by Pablo Rosser Limiñana

UN FRAGMENTO CERAMICO CON GRAFITOS BILINGUES, Y LA PERVIVENCIA DEL SUSTRATO IBÉRICO EN LA CIUDAD ROMANA DEL TOSSAL DE …

by Pablo Rosser Limiñana

Hacia el lugar de los dioses: una aproximación a la peregrinación religiosa en la Hispania indoeuropea

by Silvia Alfayé

Religion, language and identity in Hispania: Celtiberian and Lusitanian rock-inscriptions

by Silvia Alfayé

Co-authored with Francisco Marco Simón

Carters expeditioner före upptäckten av Tutankhamun (in Swedish) (transl. Carter's expeditions prior to finding Tutanchamun)

by Maria Nilsson

Letters from Luxor - in the footsteps of Howard Carter

by Maria Nilsson

Series of articles especially written for and published by South African Shemu; documenting and discussing ancient remains preserved in the Theban Mountains' south-western valleys, initially explored by Howard Carter in 1916.

Letter 1: more Letter 1: http://thesiriusproject-sp.blogspot.com/2012/03/letters-from-luxor-and-egyptian-society.html

Letter 2:http://thesiriusproject-sp.blogspot.com/2012/04/letters-from-luxor-shemu.html

Letter 3 etc to follow soon

Bible Translation and Ancient Visual Culture: Divine Nakedness and the "Circumcision of Christ" in Colossians 2:11

by Yancy Smith

See the article in Niang and Osiek _Text, Image and Christians in a Graeco-Roman World: A Festschrift in Honor of David Lee Balch, PICKWICK BOOKS—Wipf and Stock.

Many scholars have gained insight looking beyong the textual world created by beholding texts alone as the resource... more Many scholars have gained insight looking beyong the textual world created by beholding texts alone as the resource for reconstructing the context (thus the "meanings") of Biblical phrases with a visual registry of reference. I apply insights gained from viewing ancient Christian depictions of Christ crucified in the nude to illuminate a difficult metaphorical passage of this deutero-Pauline text.

Nuevos grafitos descubiertos en Garb Asuán sur

by Alejandro Jiménez-Serrano

The main aim of the present communication is to publish a preliminary study of a group of new graffiti found at Garb... more The main aim of the present communication is to publish a preliminary study of a group of new graffiti found at Garb Aswan South during the Archaeological Mission carried out in November 2005. As will be seen, the range and the date of the graffiti are heterogeneous; many of them are dated to the Predynastic period, but others are Pharaonic and even later. We shall also report on and discuss some undated depictions.

Új eredmények egy régi anyag kapcsán (New results from old material. Methodological and military historical observations based on the study of the pottery finds of Selmeci utca in Aquincum)

by Péter Vámos

Co-authored with P. Hárshegyi

Published in: Sz. Bíró (ed.), 'Fiatal Római Koros Kutatók I. Konferenciakötete', Xántus János Múzeum, Győr, 2006. március 8–10 ['Ist Conference of Young Archaeologists of the Roman Period', Győr, 8–10 March, 2006]. Győr 2007, 157–172.

New results from old material (Methodological and military historical observations based on the study of the pottery... more New results from old material (Methodological and military historical observations based on the study of the pottery finds of
Selmeci utca in Aquincum)

In the spring 1935 in the Selmeci utca (Óbuda) Roman remainswere unearthed during the foundationworks of the Lutheran Church whose documentation has been completely lost. Based on the opinion of the excavator, Lajos Nagy the literature refers to this site as a pottery workshop which was destroyed during the reign of Hadrian and to its unpublished finds as ceramic material having been produced on the site. During the preparation of a comprehensive study on the pottery manufacturing of the canabae of Aquincum, the finds of the site were revised and thoroughly studied. The material lacks any indication to a certain pottery workshop. The extremely variegated fragments in view of their fabric and form belong to three connected horizons from the late Flavian Age to the beginning of the 4 century. In the dating of the finds the Samian Ware, the amphora fragments and the brownish green glazed ware played an important part. It might have been a rubbish layer whichwas probably disturbed and levelled several times already in the Roman Period.
From the filling of the oven a post fired (post cocturam) inscribed amphora fragment was uncovered with the inscription of COHI F C XVI and in all probability a C letter. The fragment belongs to the Zeest 90 amphora type and can be dated to the middle of the 2nd or the 3rd century. We think that the most probable explanation of the inscription is: COH(ors) I F(lavia) C(anathenorvm) XVI C(ongii?). In consequence, it might have belonged to the supply of an unknown military unit (or its vexillatio) of some eastern origin which might have stationed here temporarily during the Marcomannian Wars.

Movement, rhythms, and the (re)production of written space

by David J. Newsome

[In press, Jan 2013] R. Laurence, G.M. Sears, P. Keegan (eds.), Written Space in the Latin West: 200 BC to AD 300. The evolution of the public display of writing in Roman cities. (London: Continuum)

From the intro: "In this chapter, I examine the production of non-official written space within the Roman city,... more From the intro: "In this chapter, I examine the production of non-official written space within the Roman city, focusing on the ways in which activities within space were based on the exploitation of rhythms (e.g. of movement, of light). This chapter builds upon my previous work on movement as an important variable in the Roman city. Specifically, it responds to the need to understand the temporal rhythms of location-specific activities."

What the Pompeians saw: Representations of document types in graffiti drawings and their value for linguistic research

by Virginia Campbell

Segni obituari e un graffito su lastra tombale (con un'appendice sui segni lapidari nell'area del Monte Pisano e nel territorio di Cascina).

by Riccardo Belcari

published in L'aratro e il calamo. Benedettini e cistercensi sul Monte Pisano. Dieci anni di archeologia a San Michele alla Verruca (edd. S. Gelichi A. Alberti), Felici Editore, Pisa 2005, pp. 199-215.

De gotlandske billedsten og rekonstruktionen af vikingeskibenes sejl

by Ole Kastholm

My thesis from 2006 published in "Aarbøger for Nordisk Oldkyndighed og Historie 2005" (2009)
English summary on p. 151: "The Gotlandic Picture Stones and the reconstruction of the Viking Ship's Sail".

This paper deals with the subject of Viking Age iconography as source material for rigging details and sail technology... more This paper deals with the subject of Viking Age iconography as source material for rigging details and sail technology of Viking Age ships. The survey consists of two parts: 1) an iconographical analysis of Scandinavian ship motifs c. 750-1050 AD, in particular motifs from the monumental picture stones of Gotland, but also from coins, rune stones and graffiti. 2) a critical analysis of the methods used in reconstructing Viking Age ships’ rigging and sail during the last 20 years. It is concluded that a major part of the ship motifs are a fairly reliable source of Viking Age ship technology, and that most of the vessels depicted are warships with low and wide square sails. Furthermore it is concluded that the methods used in sail reconstruction are often based too strongly on ethnographical sources; despite the fact that this material does not correspond visually with the ship motifs of the Viking Age. This thesis does not entirely reject the ethno-archaeological reconstruction method, but proposes a more complex perception of Viking Age ships’ sail. It is suggested that the long and slender warships were equipped with low square sails, and that these vessels were not constructed primarily to tack against the wind.

Skibsbillederne i Himmelev Kirke og langskibene fra Roskilde Fjord

by Ole Kastholm

Published in "ROMU. Årsskrift fra Roskilde Museum 2010" (2011)

Når man står ved Himmelev Kirke kan man ikke se fjorden. Vidstrakte boligkvarterer indhyller nu omgivelserne. Men i... more Når man står ved Himmelev Kirke kan man ikke se fjorden. Vidstrakte boligkvarterer indhyller nu omgivelserne. Men i arkæologisk målestok er det blot få øjeblikke siden, at landskabet her lå åbent og dyrket, og da den romanske kirke i første halvdel af 1100-tallet blev opført på et højdedrag knap 35 m.o.h., var der uhindret udsyn herfra til fjorden og dens færdsel. Derfor giver det også mening, at ukendte hænder har ridset flere skibsbilleder ind i væggenes bløde kalksten i kirkens tidlige år.
I alt kunne Nationalmuseet registrere seks skibsbilleder ved kirkens restaurering i 1972-73. To billeder var indridset ved syddørens østkarm og fire ved den nu tilmurede norddør – to på hver sin side, hvor de var placeret under knæhøjde. De skal næppe opfattes som en del af kirkens officielle udsmykning, men snarere som en art øjebliksbilleder, muligvis udført af håndværkere omkring kirkebyggeriet. Skibsbillederne var skjult under det oprindelige pudslag, og må alene af denne grund dateres til tidspunktet omkring kirkens opførelse. Den afbildede skibstype repræsenterer da også en tusindårig nordisk byggetradition, som i store træk gik ud af brug i 11/1200-tallet.

Six ship graffiti from Himmelev Church

by Ole Kastholm

Published in "Maritime Archaeology Newsletter of Denmark, no. 26" (2011)

Himmelev Church was erected in the first half of the 12th century on a ridge of c. 35 m above sea level, viewing the... more Himmelev Church was erected in the first half of the 12th century on a ridge of c. 35 m above sea level, viewing the inner waters of Roskilde Fjord. Caused by a restoration project inside the church, the National Museum of Denmark undertook archaeological investigations in 1972-73. A result of this was the revealing of a number of ship graffiti incised in the soft limestone ashlars and veiled beneath the original plaster. The graffiti were placed at the doorways, just above floor level. Two were found at the southern door, and four at the northern door, which is now abandoned. The placing of the graffiti indicates that they do not belong to the church’s official art work, but instead are a product of spontaneity, possibly carried out by craftsmen taking part in the church’s construction. This is underlined by the hasty character of the ships depicted. Thus these graffiti ought to be seen as contemporary depictions of vessels – probably with Roskilde Fjord as inspirational setting.

Graffiti at Dura-Europos: A Contextual Approach

by J.A. Baird

in Baird, J. A. and C. Taylor, (eds) Ancient Graffiti in Context. New York: Routledge, 49-68