Archaeological Museum Research Articles

Grave 6 from Trogir’s Dobrić necropolis | Grob 6 z nekropole Dobrić v Trogirju

This paper covers the finds dated to Late Antiquity from grave 6 in the Roman necropolis in Trogir’s Dobrić section, which was partially excavated in the 1980s. A portion of the goods from this sporadically excavated necropolis are held in the Archaeological Museum in Split. Documentation is lacking. However, in the case of three items, there is confirmation that they are from grave 6, and they have been dated to the period from the latter half of the 4th to the first half of the 5th century: a ceramic oil-lamp, a glass bottle, and a glass bowl. The small glass bowl with engraved decoration is particularly interesting. It stands out among similar bowls in terms of its decoration and small dimensions.

Underwater Excavation at the Basilica Church in İznik Lake – 2019

The remains of the basilical church lie approximately in 2 or 3 meters of depth, and 50 m from the shore of the lake, outside the city walls that surround the ancient city of Nicaea. The underwater archaeological excavations at the basilica remain are being launched under the auspices of the Iznik Archaeology Museum with the permission of the Ministry of Culture and Tourism in 2015. In 2019, excavation was carried out in the atrium where we thought a water well was situated. This is because the British pilgrim, Willibald, pointed out that the site of the 1st Council had a rectangular open-roofed courtyard with a sacred source of oil in the middle. Although we went down 60 cm deeper than the foundation walls, we could not find the bottom of the well. However, a large number of ceramics, glass bracelets, or Scyphate coins (cup-shaped coins) were found indicating the 13th century. It was also found that the well was filled with stone. Therefore, we think that the structure was definitely abandoned in the approximately 12th century and then sank into the lake waters.

Модели виртуального экспонирования археологического наследия в сети Интернет

This article deals with the issues of virtual exhibiting of archaeological sites and artifacts on the internet. Particular importance is placed on systemization of virtually visual practices applied to demonstrate and interpret cultural heritage using open information resources of scientific institutions, higher educational establishments and archaeological museums on Russia’s Internet. Emphasis is put on archaeological heritage virtual exhibiting used both purely for research within scientific circles and for purposes of popularization of science. As a result of the study, three main models of virtual archaeological expositions are specified: collection, environmental and thematic. The basis of the Collection Model is digital documenting and exhibiting of movable archaeological heritage. The Environmental Model is realized as virtual tour and designed to simulate environments of immovable archaeological sites and to experience the effect of immersive virtual reality. The Thematic Model suggests that the subject context predominates over archaeological artifacts. The Collection Model is mainly intended for scientific community and academia while environmental and thematic models are designed for general audience. Main development trend of the virtual archaeological exposition is integration of different technologies, enhancement of immersiveness and interactivity. It is considered by the authors to be practical approach to implement the project of Samara University virtual museum of Archaeology and to conduct thematic exhibitions on the basis of the museum.

The "Soul" of the Museum of Archeology and Ethnography of the IEI UFIC RAS (in Memory of Natalia Georgievna Rutto)

The article is devoted to the bright memory of the permanent head of archaeological funds, chief curator of the Museum of Archeology and Ethnography of the Institute of Ethnological Research named after R. G. Kuzeev, Honored Worker of Culture of the Republic of Bashkortostan, archaeologist, Candidate of Historical Sciences Natalia Georgievna Rutto, who died prematurely 15 years ago in May 2007. The publication examines the main stages of N. G. Rutto's life path (1946-2007). Special attention is paid to the period of her work at the MAE, where she worked her way up from laboratory assistant to deputy director for accounting, storage and exposition of museum funds (1977-2007). Analysis of archival documents and scientific publications, written, among others, by Natalia herself, indicate that she was at the origins of the acquisition of the museum collection of the MAE, made a huge contribution to the formation of archaeological funds and to the development of the exposition and exhibition activities of the Museum of Archaeology and Ethnography. N. G. Rutto was not only engaged in accounting and storage, but also cataloguing the museum collections of the MAE. In addition, she went on various expeditions and replenished the funds of archeology with new materials. Natalia Georgievna conducted successful research activities. Studying the Srubno-Alakul interaction in the Southern Urals in the Late Bronze Age, in 2000 she defended her PhD thesis, published several dozen scientific articles and a monograph. This publication is based on documents from the Scientific Archive of the Ufa Federal Research Center of the Russian Academy of Sciences, many of which are being introduced into scientific circulation for the first time, as well as personal memoirs of the author.

Definition, Types and Characteristics of Museum of Archaeology in China

Definition, Types and Characteristics of Museum of Archaeology in China

3D DIGITIZATION OF MUSEUM ARTEFACTS WITHIN THE INTERREG IRON AGE DANUBE PROJECT

Abstract. Iron Age Danube project dealt with a wide variety of topics and sites dating back to the Iron age along the Danube river. Primary goals set by the Archaeological museum in Zagreb were the creation of a cultural route for the site of Kaptol, presentation of the site itself and digitization of artefacts from the necropolis of Kaptol – Čemernica. The latter were a part of the permanent museum exhibition in the Iron age section at the Archaeological museum in Zagreb. This paper will present the workflow used to generate image-based 3D models of more than 100 artefacts. The museum itself doesn’t have a digitization laboratory or allocated space, a problem which was encountered in other cultural heritage digitization projects, which meant that the setup had to be quickly assembled and disassembled as needed. This paper will present the problems encountered during the entire process, from image acquisition to data processing, as well as the potential solutions. For the purposes of the project we used Agisofts Metashape software which at the time required masks for all photographs involved in the image-based modelling process, in a turntable static camera setup. The newer versions of the software have two additional options one of which ignores the surrounding reference points and uses the markers generated by Metashape to complete the initial camera alignment. The sheer amount of artefacts we aimed to digitize meant that we had to streamline the process of acquiring and processing the photographs and their respective masks. This process was meticulously documented and optimized to take the least possible time while obtaining a satisfactory level of detail on the resulting 3D model. Although the new versions of the software dispense with the need for masking the photographs, the process of removing the unwanted points from the point cloud and aligning different chunks can also be time consuming. This paper will present our results with various photo alignment methods and try to provide an objective comparison. We will also explore the possibilities of utilizing the finished models in computer generated reconstructions of sites, and their usability in promoting the museum and potential exhibitions. Finally, the paper will assess the value of digitizing larger parts of museum collections in light of the recent earthquake in Zagreb which seriously damaged most of the artefacts in the museum.

REFLECTION ON A TRAINING SEMINAR ABOUT SCIENCE EDUCATION PROGRAMS IN MUSEUMS OF GENERAL INTEREST

The paper reflects on a 4-month training seminar offered to in-service teachers of primary education in Epirus region which introduced a coalition between science and museum education. It follows an expansive learning cycle and aims to a meaningful improvement of teachers’ practices on science education. The present paper presents the level of participants’ satisfaction with the seminar, the design framework SciEPIMGI (Science Education Program In Museums of General Interest), and the Moodle platform used. It also studies under a cultural-historical perspective, the constraints participants encountered during the seminar and finally, the transferability of the design framework in museums beyond the Archaeological museum of Ioannina, where it was first tested. The above are studied through empirical data collected from a questionnaire with close- and open -ended questions and the qualitative analysis of the participants’ final projects. The results overall show high levels of satisfaction and constraints which are connected with contradictions and conflicts of motives. Participants’ final projects reveal that teachers have designed science education programs for different kinds of museums such as folklore, art, historical, archaeological and a thematic museum of Epirus region.

Thasian and Rhodian Stamped Amphorae from Edirne Archaeology and Ethnography Museum

Amphorae are stamped by production centers, especially in the Aegean Region. Stamps, which are epigraphic evidence, provide the date of the layer or context they were found by determining the origin of the amphorae and reveals the commercial relations between the production and consumption centers. There are many amphorae in the Edirne Museum of Archaeology and Ethnography. These amphorae are recorded in various ways in the inventory of the museum. It was determined that only five of the amphorae in the museum collection were stamped. This article aims to classify the stamped amphorae according to their production centers, to give a date to the stamped amphorae and to analyze the inscriptions on the stamps.In this study, seven stamps on five amphorae with preserved double handles were examined. Three of these stamps are Thasos and four are Rhodes. Only two of the Rhodesian stamps have been resolved. As a result of our investigations, it was determined that these stamped amphorae belonged to Thasos and Rhodes. The stamps have the names of the eponym and the producer, ethnicon and symbol. The date of the stamps that can be read within the scope of this article is determined by the names of the eponyms and producers. It is understood that the stamped amphorae here are generally from between the 4th – 2nd centuries BCE.

Further New Inscriptions from the Bursa Archaeological Museum

As a part of our ongoing work conducted in the Bursa Archaeological Museum, we continue to introduce new inscriptions that have either recently been brought to the museum or have remained unpublished to date. There are a wide range of new inscriptions, dating from the Hellenistic Period but, primarily from the Roman Imperial Period, in this article. A few of them are honorific inscriptions (nos. 1 and 9-10), but the vast majority of the inscriptions are from the funerary genre. The find-spots for most of them are Bursa Province, but some of the inscriptions were found in other regions (nos. 2-4, 10) and the inscriptions found as a result of the successful interdiction of the smuggling of antiquities (nos. 5, 19, 21) that are now in the museum of unknown findspot, are also included in this article. The inscriptions document some new personal names such as Κυλινδρας (no. 11), Σύγκλητος (no. 26), Οτρογονος or Οτρογων (no. 28), Σκηλας (no. 31), Ὑιαρίων (no. 32), Τρυφηνα (no. 33), Νεάπιος, Νεαπία, Αἰθίππη (no. 34), Δημόθεμις (no. 36), Μυβάλη (no. 46), Λεόστης, Ἀπωτάτης (no. 58) and also some Thracian names such as Δοληζελμις (no. 9) contributing to research concerning onomastics. Moreover, some new toponyms such as Κιωλλουπετρα, Ὀρωπεια (no. 1) and new ethnics such as Βρασσηνοι (no. 9) are also attested. There is also one new funerary inscription of a gladiator (no. 11). In one of the new inscription (no. 16) whose findspot is unknown, the formulation “ἥρως χρηστὸς παροδείταις χαίρειν” is worthy of mention, which would signal that the monument is from Laodikeia on the Lycus in Phrygia. Many of these inscriptions provide the age of death of the deceased (see the index).

BİTHYNİA KENTİ KLAUDİOPOLİS’TEN (BOLU) BİR HEYKEL BAŞI

This article considers the head of a marble painted statue which was found during construction work in the city center of Bolu and delivered to the Bolu Archeological Museum. This study aims to clarify the identity and dating of the head. The statue head has been examined in terms of craftsmanship techniques, and a stylistic-typological analysis has been carried out with respect to the facial features, facial expression, head posture, hairstyle and headband. Combining the findings from this analysis with information about the context around the find-spot and data concerning administrative and religious personalities in the history of the city, an attempt has been made to draw some conclusions about the statue head. The facial features of the Bolu head reflect primarily the idealism and linear style of the Classical Period. On the other hand, its facial expression and head posture can also be seen in sculptures of the Hellenistic Period. No other similar sculpture has been encountered previously. In view of this, we would appear to be faced with an eclectic and unique work, probably a local production, indicating that the head is not a copy of a particular work. The stylistic and typological features of the Claudiopolis (Bolu) head can also be seen on sculptures from the Hellenistic Period up until the time of Hadrian, making it quite difficult to date this head. However, the polishing technique applied to the surface of the statue head where bare skin is visible may point to a date in the Hadrianic period, an important phase in the history of Claudiopolis. This dating may be supported by the fact that right next to the head structural foundations and a structural element are said to have been unearthed, and these have been dated to the Hadrianic period due to the inscription on this structural element. There is no definite attribute indicating who the head is depicting. The only accessory on the statue head is a circular cross section headband. Because of this, only the hairstyle and the type of headband can provide clues as to the statue's identity. The head does not possess the usual hairstyle of the Roman imperial period. Divided into two from the bun, the hair is combed from back to front and cut short around the face from the forehead to behind the ear. This style and model of haircut is also manifested in representations of Artemis and Apollo from the Classical Period, although the treatment of the bun differs. In addition, such short hair is a rarity in female statues, and researchers concur that it is exceptional for women to be depicted with short haircuts, unlike in the case of men. Furthermore, a circular cross-section headband is understood in most cases to be an indication of a male hero or god. One of the twelve phyla of Claudiopolis is named after the god Apollo. Based on the ancient history of the city and the typological comparison of this head with other sculptural works, it can be suggested that the statue head under discussion depicts Apollo and can be dated back to the Hadrianic Period.

High-accuracy orientation survey in the Tiberius’ Cave near Sperlonga

• A very accurate electronic solar compass was used for the first time in archaeology. • The solar compass measured the orientation of structures in the Tiberius’ cave. • Two niches in the Tiberius’ cave are perfectly aligned to the winter solstice in 1 AD. • We discuss if the statue of Andromeda acted as the gnomon in the winter solstice. We exploit a very accurate electronic solar compass used for the first time in archaeology, to measure the orientation of structures at the Tiberius’ Cave, which is adjacent to the Villa of the Roman emperor Tiberius located nearby the National Archaeological Museum in Sperlonga, Italy. The measures are aimed at verifying whether Tiberius’ Cave artefacts were aligned to specific astronomical events, connected to the apparent motion of the Sun. The experimental results suggest the intentional alignment of two niches to provide an accurate reference during the sunset on the day of the winter solstice at the time of Tiberius.

Front Cover

Next article FreeFront CoverPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreFront cover: Upper torso, head, and arms of the ÇINEKÖY Statue; Adana Archaeological Museum. (Photo by N. Lovejoy) Next article DetailsFiguresReferencesCited by Volume 387May 2022 A journal of ASOR Article DOIhttps://doi.org/10.1086/720349 Views: 784Total views on this site © 2022 American Society of Overseas Research. All rights reserved.PDF download Crossref reports no articles citing this article.

Methodology for an HBIM workflow focused on the representation of construction systems of built heritage

• A HBIM workflow addressing the representation of building construction systems is presented. • It is structured into 5 recursive and flexible phases to adapt to available information/model uses. • Each phase is presented with a methodological insight to help operators in developing the process. • The results of the methodology are applied on The National Archaeological Museum of Naples – MANN. • the test proved its the efficiency while guiding experts the most appropriate course of action. Conservation and valorisation practices of built heritage can greatly benefit from Heritage Building Information Modelling (HBIM) workflows. The use of HBIM as an information management process is not fully established yet, also due to the focus on industrialised architecture typical of the most common BIM tools. Capitalising on the benefits of the BIM process in the field of built heritage requires pursuing a continuous trade-off between geometric accuracy, semantic richness and parametric behaviour. This research aims to present an HBIM workflow that, as compared to other, more specific pipelines, is general in scope to support the planning and implementation of maintenance and conservation activities of built heritage, emphasising the representation of the building construction systems. The workflow is structured in five phases (model planning, data collection, geometric survey, breakdown structure and HBIM modelling), recursive and flexible to influence one another and to adjust to the information available and the development of the work over time. Each phase of the workflow is presented with a general outline and a methodological insight to help operators in developing the HBIM process most suitable for specific cases. The results of the application of this methodology on a complex and massive historical building (The National Archaeological Museum of Naples – MANN) show that the workflow is both versatile and sufficiently flexible to accommodate a heterogeneous range of objectives while guiding experts to select and document the most appropriate course of action.

Artefacts and Their Texts: Contextualising Ancient Near Eastern Collections from Excavation to Display

Archaeological archives take up a significant amount of shelf space in any archaeological depot or museum, yet these are rarely presented as primary storytelling tools. As the public image of archaeology is still largely defined by the physical remains of sites and the finds that are associated with them, these are also often the focus of archaeological publications and displays, confining the purview of archaeological documentation to behind-the-scenes research. However, these records do not just illustrate an object, feature or site, they connect the past to the present as narratives of human interpretation and changes in archaeological and museological practice. In this paper, I draw from four brief case studies from my own research, each pertaining to different aspects of collection interpretation, display, and engagement. These practical examples highlight the importance of integrating documentary and material collections in research and outreach spaces. This integration helps us to present the diverse aspects of archaeological research, give value to under-resourced collections, explore meaning across different sources, and display the processes through which we create knowledge. 

Anthropology Plus

Anthropology Plus is a database that contains a compilation of two indexes: Anthropological Index Online (published by the Royal Institute of Great Britain and Ireland) and Anthropological Literature (published by the Peabody Museum of Archaeology and Ethnology at Harvard). Anthropology Plus offers indexing of core and less well-known journals from the eighteenth century to the present. This resource provides extensive indexing of thousands of sources including journal articles, commentaries, reports, obituaries, and edited works. As of 2022, this database contains 1.1 million records. Anthropology Plus updates all records monthly and comprises more than 50 languages including Asian, English, German, and Slavic languages. Subjects covered in this database are: Anthropology, Art History, Archaeology, Ethnology, Folklore, Linguistics, Material Culture, Primatology, and Religious Studies.

A Playful Coroplast? A New Look at the Terracotta Group of the Early Roman Board-Game Players NAM 4200 and Related Finds

Abstract The paper aims to offer a new look on the published early Roman terracotta group of the National Archaeological Museum inv. no. 4200, which is comprised of a male and female couple of board-game players in the company of a dwarf, by reanalysing its figures, board-game type and presenting some of its hitherto unknown details in the form of impressed images made by the coroplast on the back of the two player figures. These impressed images, if intentional, meaningful and not random, together with parallel finds, are examined in the light of information they can offer regarding the board-game type represented in the terracotta group, the possible winner of the game or gaming attitudes related to the gestures of the figures. An overview of relevant Roman and earlier literary sources and comparisons with related finds are included. Instances of ceramic, terracotta, metal or other finds with -random or intentional- impressed signs and symbols made in coroplastic or pottery workshops, as well as examples of post-manufacture graffiti by a possible user are presented and investigated, leading to possible interpretations of ludic concepts represented by the figural synthesis of the terracotta group NAM 4200.

The Knucklebone and the Goose: Playing and Jeopardy for the Boy of Lilaia

Abstract A particularly beautiful marble statue of a boy, a dedication unearthed in Lilaia, Phokis, and on display in the National Archaeological Museum, Athens, is an opportunity for us to explore the connection between the boys’ games and the jeopardy in their outcome. Both the expression on the boy’s face and the way he holds an astragal and a goose demand multiple levels of reading. These are related to the intent of the dedication in the first place, the identification of the games requiring an astragal or involving a goose, as well as to the choice of these specific playthings for the particular imagery. Why is he holding a single astragal, and in such a particular way? Why is the goose included in the picture, and what species of Anatidae is this? The apparent originality of the motif and of the work, in comparison with other well-known Hellenistic representations in stone or terracotta, dictated our research into the milieu of artistic and symbolic quests of that period, and also a reflection on the choice of the artist to designate a child as the owner of the playthings within a particular spatial and temporal context, perhaps associated with healing frοm a life-threatening fever.

Save the Ukrainian People First: They Carry their Culture in their Hearts

Save the Ukrainian People First: They Carry their Culture in their Hearts

SETIF NATIONAL ARCHEOLOGY MUSEUM, ARCHAEOLOGICAL STUDY

The museum is the place through which the visitor can roam through time through various civilizations. It is a permanent headquarters for the service and development of society. It is open to the public. It collects, preserves and stores archaeological artifacts and then displays them to the visiting public, for the purpose of study, education, and entertainment. It is also an institution focused on Its role is to contribute to the development of societies scientifically, culturally, ethically and other functions, as the Setif Museum has a huge collection of holdings, and accordingly this research paper came to introduce the National Museum of Antiquities in Setif, whose visit is a journey through time in which the visitor summarizes the history and culture of the city through its corridors, as well as showing the most important holdings that are available on it and the most important museum display methods that it uses in presenting its museum holdings?. Key words: Setif National Archeology Museum, Museum Holdings.

Glass-gems from the National Archaeological Museum in Aquileia: a PIXE/PIGE compositional study

Abstract A total of 100 investigated coloured/colourless opaque and transparent glass-gems of the National Archaeological Museum of Aquileia (Italy) have been analyzed with a non-invasive approach, at the AGLAE facility (Centre de Recherche et Restauration des Musées de France - C2RMF), located at the Palais du Louvre in Paris (France). The collection represents a “unicum” in terms of number of finds and richness of typologies. Almost all the glass-gems were discovered in the Roman site of Aquileia, known as an important center of glass working, and are dated between the 2nd century BCE to the 2nd century CE. Their safe provenance from the city and cemeteries of Roman Aquileia, and their number, offer an unparalleled statistical sample. Most of the objects belong to the natron-glass group. The families of HIMT glass and glass made from plant ashes are also represented. This compositional variety of glass supports the hypothesis that Aquileia was an important glass working center in the Roman age.