كنز نادشنت‌ميكلوس

جزء من كنز نادشنت‌ميكلوس في متحف تاريخ الفنون.
جزء آخر من الكنز.
Asiatic looking horseman and his captive on the Ewer from Nagyszentmiklós.

كنز نادشنت‌ميكلوس ( Treasure of Nagyszentmiklós ؛ مجرية: Nagyszentmiklósi kincs؛ ألمانية: Schatz von Nagyszentmiklós؛ رومانية: Tezaurul de la Sânnicolau Mare) is an important hoard of 23 early medieval gold vessels, in total weighing 9.945 كيلوجرام، عُثِر عليه في 1799 بالقرب من نادشنت‌ميكلوس،[1] مملكة المجر (ألمانية: Groß-Sankt-Niklaus, التي هي اليوم سين‌نيكولاو مارى، رومانيا)، وتعني "القديس نيكولاس العظيم".[2][3] After the excavation, the treasure was transferred to Vienna, the dynastic capital of the Habsburg Monarchy. Ever since, it has been in the possession of the Kunsthistorisches Museum there, where it is on permanent display.

A wide range of views continue to be held as to the dating and the origins of the styles of the pieces, and the context in which they were made, which may well vary between the pieces. Unusually, the inscriptions on some pieces have increased the complexity of the arguments rather than reduced them. In 2008 Romanian officials asked the Austrian government for the treasure's repatriation.[4][5]

In the 19th century the treasure was widely regarded in Hungary as originating with precursors of the Hungarian people, and played a notable part as an icon of Hungarian nationalism. In particular the gold cup with a bull's head facing back over the bowl was known as the "Cup of Attila" - Attila the Hun having died in 453.

The treasure, consisting of 23 gold vessels and variously dated from the 6th to the 10th century, was found on 3 July 1799 by Neru Vuin, a Serbian peasant farmer, in the vicinity of Nagyszentmiklós (Sânnicolau Mare).[6] The figure of the "victorious Prince" dragging a prisoner along by his hair (see figure on the right) and the mythological scene at the back of the golden jar, as well as the design of other ornamental objects, show close affinities with finds at Novi Pazar, Bulgaria and at Sarkel, Russia. Stylistically, Central Asian, Persian-Sassanid and Byzantine influences are predominant.[7]

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النقوش

المقالة الرئيسية: نقش بويلا

On one of the vessels in the hoard there is an inscription written in the Greek alphabet which reads:

ΒΟΥΗΛΑ

bouēla

ΖΟΑΠΑΝ

zoapan

ΤΕΣΗ

tesē

ΔΥΓΕΤΟΙΓΗ

dygetoigē

ΒΟΥΤΑΟΥΛ

boutaoul

ΖΩΑΠΑΝ

zōapan

ΤΑΓΡΟΓΗ

tagrogē

ΗΤΖΙΓΗ

ētzigē

ΤΑΙΣΗ

taisē

ΒΟΥΗΛΑ ΖΟΑΠΑΝ ΤΕΣΗ ΔΥΓΕΤΟΙΓΗ ΒΟΥΤΑΟΥΛ ΖΩΑΠΑΝ ΤΑΓΡΟΓΗ ΗΤΖΙΓΗ ΤΑΙΣΗ

bouēla zoapan tesē dygetoigē boutaoul zōapan tagrogē ētzigē taisē

Today almost all scholars share the view that the text is written in a Turkic language,[10][11][12] but it has not been deciphered and the exact classification of the language has been a subject of debate.[10][13] It has been often compared with the Turkic Bulgar language of the First Bulgarian Empire,[14][13][15] attested on several 8th-9th century inscriptions written in Greek letters.[16] More recently Eugene Helimski argued the language is close to Proto-Tungusic,[17] but this proposal was rejected by Marcel Erdal as far-fetched.[18]

"Number 8 Bow inscription" from the Treasure of Nagy Szent Miklos; runiform script

There is another inscription in the Greek language. Also, there are several other very short inscriptions in a runiform script which are also likely to be in a Turkic language, but these are very brief and also have not been deciphered.[19][20]


السياق الثقافي

The cultural milieu or milieux in which the objects in the treasure were created, assembled and deposited remains controversial, with the debate often influenced by nationalistic concerns.[بحاجة لمصدر]

Illustration on the treasure of Nagyszentmiklós depicting a scene of the divine Garuda bird lifting up a human body, or alluding to Ancient Greek mythology with Zeus transforming into animals to rape a man or woman.[بحاجة لمصدر] Some claim to be similar to one in the Álmos legend from the Hungarian mythology: Emese's dream of the Turul bird.[21]
A bull's head bowl from the treasure; this piece is known in Hungary as "Attila's Cup".

آڤاري

Scholars have connected the treasure with the Avar Khaganate.[22][23] The newest research shows it is closely related to the Avar culture.[24][25][26][27]

البيزنطي

According to a Greek text of a vessel, the treasure may have a Byzantine Empire origin. In a study of a Romanian scientist, the text of a vessel has to be read as ΔEA[=ΔIA] YΔATOC ANAΠΛYΣON A<YT˃ON EIC PHTON[=PEITON] OMAYLON. Meaning: "With water clean it [the disc] in the neighboring [sacred] stream". Also, he wrote the treasure belonged to Ahtum, a voivode of Banat.[28]

مجري أم بلغاري

As noted above, close affinities have been recognized between the Nagyszentmiklós material and that found at Novi Pazar and in Khazaria. Archaeologists in both Hungary and Bulgaria consider these affinities to support theories of ancient migration between regions. Both were allied with Khazars for a period. The treasure gives some idea of the art of the First Bulgarian Empire, Hungarian and Khazar states. According to Professor Nykola Mavrodinov (based on Vilhelm Thomsen), the script on vessel number 21 is in Bulgar, written in Greek letters, surrounding a cross, and reads, "Boyla Zoapan made this vessel. Butaul Zoapan intended it for drinking."[29]

خزري

One school of Hungarian archaeologists maintains that the tenth century gold- and silversmiths working in Hungary were Khazar.[30] When the Magyars migrated to Pannonia in 896, some Khazar tribes, known as the Khavars, came with them to their new homes. The Khavars were skilled gold and silversmiths.

فارسي

Khazar art is believed to be modelled on Persian-Sassanide art patterns. The Soviet archaeologist O. H. Bader emphasized the role of the Khazars in the spread of Persian-style silverware towards the north.[31] Some of these works may have been re-exported by the Khazars, as middlemen; others were imitations made in Khazar workshops, ruins of which have been found near the ancient Khazar fortress of Sarkel. The Swedish archaeologist T. J. Arne mentions ornamental plates, clasps and buckles of Sassanide and Byzantine inspiration, manufactured in Khazaria or territories under their influence, being found as far afield as Sweden.[32] Thus, the Khazars, Magyars and Bulgars could have been intermediaries in spreading Persian-Sassanide art in Eastern Europe.[33]

انظر أيضاً


المراجع

  1. ^ Franz Heinrich Ungewitter, Europe, past and present: a comprehensive manual of European geography and history (1850), page 528
  2. ^ Hanswilhelm Haefs (2009). Das goldene Reich der Pamir-Bulgaren an Donau und Wardar: Skyten-Gold. BoD – Books on Demand. p. 7. ISBN 978-3-8334-2340-6.
  3. ^ Official description at Kunsthistorisches Museum Vienna Archived 2007-10-24 at the Wayback Machine
  4. ^ Banatenii spera sa recupereze Tezaurul de la Sannicolau. Retrieved September 02, 2008.
  5. ^ Comorile Banatului se intorc acasa. Retrieved September 02, 2008
  6. ^ Gyula László, István Rácz: The Treasure of Nagyszentmiklós, Corvina, 1984, pp. 19 [1]
  7. ^ László Gy., Rácz I. (1986): A Nagyszentmiklósi kincs Treasure of Nagyszentmiklos. Helikon, Budapest
  8. ^ Gyula Moravcsik, Byzantinoturcica: Sprachreste der Türkvölker in den byzantinischen Quellen (1983)
  9. ^ Francis Dvornik, "Deux inscriptions gréco-bulgares de Philippes", Bulletin de correspondance hellénique, 1928 Vol. 52 no. 52, pp. 125-147 [2], accessed Oct. 10, 2011
  10. ^ أ ب Alemany 2009, p. 5.
  11. ^ Göbl & Róna-Tas 1995, pp. 18-19.
  12. ^ Róna-Tas 1999, pp. 131-132.
  13. ^ أ ب Göbl & Róna-Tas 1995, p. 19.
  14. ^ Erdal 1988, p. 223.
  15. ^ Thomsen 1918, p. 27.
  16. ^ Fiedler 2008, pp. 189-191.
  17. ^ Helimski 2000, pp. 271-277.
  18. ^ Erdal 2007, p. 79.
  19. ^ András Róna-Tas, Hungarians and Europe in the early Middle Ages (Central European University Press, 1999; ISBN 963-9116-48-3), pp. 131-132
  20. ^ Agustí Alemany, "From Central Asia to Balkans: the title *ču(b)-pān" in Christine Allison, Anke Joisten-Pruschke, Antje Wendtland (eds.), Daēnā to Dîn: Religion, Kultur und Sprache in der iranischen Welt (2009; ISBN 978-3-447-05917-6), pp. 3-The inscription is executed with Greek capital letters along the periphery of a richly decorated with an open-work interlaced design golden disk, complementarily mounted on the bottom of a shallow semispherical golden cup in the shape of an oval basin with a diameter of 12, p. 5
  21. ^ Szabó, Géza (2021). "A nő ábrázolása a Nagyszentmiklósi kincs 2. korsóján - Értelmezési lehetőségek a kaukázusi régészeti és néprajzi párhuzamok, valamint az újabb kutatási eredmények alapján" [Representation of the woman on the 2nd jar of the Treasure of Nagyszentmiklós - Interpretation possibilities based on the archaeological and ethnographic parallels in the Caucasus, as well as the results of recent research] (PDF). A női dimenzió (in Hungarian). 1: 33–45. doi:10.55344/andfh.2101033.{{cite journal}}: CS1 maint: unrecognized language (link)
  22. ^ Avar goldsmiths' work from the perspective of cultural history. In: C Entwistle, N Adams, Byzantine goldsmithwork. London: British Museum Press, 2009. p. 62.
  23. ^ A short essay on the Nagyszentmiklós treasure. in: The Gold of the Avars. The Nagyszentmiklós Treasure. General editor: T. Kovács. Budapest 2002, 57-80.
  24. ^ Bálint 2010, pp. 153,155.
  25. ^ Daim 2003, p. 516.
  26. ^ Fiedler 2008, p. 218.
  27. ^ Róna-Tas 1999, p. 132.
  28. ^ Vasile Muntean, Contribuţii la istoria Banatului, Timişoara 1990, p.6
  29. ^ László Gy., Rácz I. (1986): A Nagyszentmiklósi kincs (Treasure of Nagyszentmiklos). Helikon, Budapest
  30. ^ Dunlop, D. M., "Khazars", in Enc. Judaica, 1971-2 printing.
  31. ^ Bader, O. H., Studies of the Kama Archaeological Expedition (in Russian, Kharkov, 1953)
  32. ^ Arne, T. J., "La Su de et l'Orient", Archives d'Études Orientales, 8º. v.8, Upsala, 1914.
  33. ^ Bálint Cs. (2004): A nagyszentmiklósi kincs. (Treasure of Nagyszentmiklos). Varia Archaeologica Hungarica c. series, XVIa, Budapest

المصادر

  • Alemany, Agustí (2009). "From Central Asia to the Balkans: the title *ču(b)-pān". In Allison, Christine; Joisten-Pruschke, Anke; Wendtland, Antje (eds.). Daēnā to Dîn: Religion, Kultur und Sprache in der iranischen Welt. pp. 3–12.
  • Bálint, Csanád (2010). "Avar goldsmiths' work from the perspective of cultural history". In Adams, Noel; Entwistle, Chris (eds.). Intelligible Beauty: Recent Research on Byzantine Jewellery. pp. 146–160.
  • Daim, Falko (2003). "Avars and Avar archaeology. An introduction". In Goetz, Hans Werner; Jarnut, Jörg; Pohl, Walter (eds.). Regna and gentes: the relationship between late antique and early medieval peoples and kingdoms in the transformation of the Roman world. pp. 463–570.
  • Erdal, Marcel (1988). "The Turkic Nagy-Szent-Miklós inscription in Greek letters". Acta Orientalia Academiae Scientiarum Hungaricae. 42: 221–234.
  • Erdal, Marcel (2007). "The Khazar language". In Golden, Peter B.; Ben-Shammai, Haggai; Róna-Tas, András (eds.). The World of the Khazars. pp. 75–108.
  • Fiedler, Uwe (2008). "Bulgars in the Lower Danube region. A survey of the archaeological evidence and of the state of current research.". In Curta, Florin; Kovalev, Roman (eds.). The other Europe in the Middle Ages: Avars, Bulgars, Khazars, and Cumans. pp. 151–236.
  • Göbl, Robert; Róna-Tas, András (1995). Die Inschriften des Schatzes von Nagy-Szentmiklós: Eine paläographische Dokumentation.
  • Helimski, Eugene A. (2000). "On probable Tungus-Manchurian origin of the Buyla inscription from Nagy-Szentmiklós". Компаративистика, уралистика: Лекции и статьи. pp. 268–277.
  • Róna-Tas, András (1999). Hungarians and Europe in the early Middle Ages.
  • Thomsen, Vilhelm (1918). Une inscription de la trouvaille d'or de Nagy-Szent-Miklós (Hongrie).

قالب:Turkic inscriptions



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وصلات خارجية

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