Awards: Humboldt Award by Holger Schwarzer
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Books by Holger Schwarzer
Die vorliegende Festschrift ist Dieter Salzmann zum 65. Geburtstag gewidmet. Der Jubilar wirkte v... more Die vorliegende Festschrift ist Dieter Salzmann zum 65. Geburtstag gewidmet. Der Jubilar wirkte von 1994 bis zu seiner Emeritierung im Jahre 2015 als Inhaber des Lehrstuhles für Klassische Archäologie an der Westfälischen Wilhelms-Universität Münster und als Direktor des dortigen Archäologischen Museums. Vertreterinnen und Vertreter aus allen Bereichen der Klassischen Altertumswissenschaften würdigen hier das weitgespannte wissenschaftliche Œuvre des Geehrten. Die in den zwei Bänden enthaltenen 84 Beiträge sind nach folgenden Themenschwerpunkten gegliedert: Numismatik, Plastik, Glyptik, Toreutik, Keramik, Mosaiken und Wandmalereien, Stadttopographie und Architektur, Alte Geschichte, Quellen und Epigraphik, Antikenrezeption und Wissenschaftsgeschichte sowie Ethnographie und Ethnologie. Schließlich werden etliche, zumeist noch unpublizierte Antiken aus dem Bestand des Archäologischen Museums der WWU Münster vorgestellt.
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With this volume of the series Altertümer von Pergamon another important building in the so-calle... more With this volume of the series Altertümer von Pergamon another important building in the so-called Stadtgrabung on the southern slope of the castle mountain will presented. It is the so-called Podiensaalgebäude, a Hellenistic-Roman house, which was in use from the 2nd half of the 2nd century BCE to the middle of the 4th century CE. The Dionysian cult association of the Bukoloi, which once resided there, is known from several inscriptions discovered in Pergamon. The detailed presentation and interpretation of the building remains and of the altogether seven construction phases is accompanied by a rich catalogue of finds, supplemented by cultural-historical considerations of the urban development of Pergamon and the character of the Dionysus cult. The second part of the book contains a comprehensive typological study of sacred banquet rooms with podia for dining purposes in the ancient Mediterranean world. Thus the book goes far beyond an excavation report in that it explains for the first time the development and spread of such dining rooms from the Archaic period to Late Antiquity.
Mit diesem Band der Altertümer von Pergamon wird ein weiterer bedeutender Bau in der Stadtgrabung am Südabhang des Burgberges bekannt gemacht. Es handelt sich um das sog. Podiensaalgebäude, ein hellenistisch-römisches Vereinshaus, das über sieben Bauphasen hinweg von der 2. Hälfte des 2. Jhs. v. u. Z. bis zur Mitte des 4. Jhs. u. Z. in Benutzung war. Der einst dort ansässige dionysische Kultverein der Bukoloi ist aus mehreren in Pergamon entdeckten Inschriften bekannt. Die ausführliche Darstellung und Interpretation des Baubestandes und der Bauphasen begleitet ein reichhaltiger Fundkatalog, ergänzt durch kulturhistorische Betrachtungen zur Stadtentwicklung Pergamons und zum Wesen des Dionysos-Kultes. Daran schließt eine umfassende bautypologische Untersuchung zu sakralen Banketträumen mit Liegepodien in der antiken Mittelmeerwelt an. Anders als in der Reihe AvP bislang üblich, geht das Werk somit weit über eine reine Grabungspublikation hinaus, indem es – an die Befunde im pergamenischen Podiensaalgebäude anknüpfend – erstmals die Entwicklung und Verbreitung derartiger Banketträume von der Archaik bis in die Spätantike darlegt.
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Papers by Holger Schwarzer
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Journal of Glass Studies 63, 2021
This article provides the first detailed overview of the medieval glass vessels from Pergamon, an... more This article provides the first detailed overview of the medieval glass vessels from Pergamon, an important site in western Asia Minor. During the excavations inside the fortified acropolis, numerous glass objects from the Byzantine period came to light. Particularly noteworthy are vessels of the so-called Red Streak Ware from the 6th and 7th centuries, prunted beakers from the 12th and 13th centuries, and enameled beakers from the 13th century. They were produced in local glass workshops, as archaeometric analyses have shown. All examined samples of these vessel types belong to the newly defined glass groups HBAl or HLiBAl, which both originate from a local or regional primary glass production. Of particular interest are also some Islamic imports, especially from the Mamluk period, which are not known from any other site in western Asia Minor in such a quantity.
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This paper provides a thorough overview of a recent research project on Ancient, Byzantine, and I... more This paper provides a thorough overview of a recent research project on Ancient, Byzantine, and Islamic glass finds from Pergamon. The broad typological spectrum and the chemical composition of the glass finds are presented in order to trace the development of glass production and glass trade between Antiquity and the Middle Ages, based upon this important site.
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Geoarchaeology 33, 2018
Twenty-two objects of glass from the Decapolis city of Gerasa, N. Jordan, with characteristic ves... more Twenty-two objects of glass from the Decapolis city of Gerasa, N. Jordan, with characteristic vessel forms ranging from Hellenistic to Early Islamic (2nd century BCE to 8th century CE) were analyzed for major and trace elements, and 16 samples for Sr-isotopes. The majority were produced in the vicinity of Apollonia on the Palestine coast in the 6th–7th centuries CE, and strong inter-element correlations for Fe, Ti, Mn, Mg, Nb reflect local variations in the accessory minerals in the Apollonia glassmaking sand. The ubiquity of recycling is reflected in elevated concentrations and high coefficients of variation of colorant-related elements as well as a strong positive correlation between K and P. The high level of K contamination is attributed to the use of pomace (olive processing residue) as fuel, and a negative correlation with Cl, due to volatilization as the glass was reheated. This points to an efficient system for the collection of glass for recycling in Jerash during the latter part of the first millennium CE. Differences in elemental behavior at different sites in the Levant may reflect the context of the recycling system, for example, glass from secular contexts may contain less colorants derived from mosaics than glass associated with churches.
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In this article a number of selected terracotta figurines are presented, which were found in two ... more In this article a number of selected terracotta figurines are presented, which were found in two Dionysian cultic buildings situated in the area of the «Stadtgrabung» in Pergamon. They were excavated by the German Archaeological Institute under the direction of Wolfgang Radt. In the first part the terracotta figurines of the so called Bau Z will be introduced by Sarah Japp. Although the interior decoration of this building displays a distinct Dionysian character, its function still remains unclear. Some indications point to its interpretation as the residence of the urban Dionysos priest rather than a Prytaneion or an assembly building of a Dionysian association. In the second contribution Holger Schwarzer deals with the terracotta finds of the «Podiensaalgebäude», a Hellenistic-Roman building identified by epigraphic material as an assembly house of the Dionysian congregation of the Bukoloi. Conspicuous is the fact that the terracotta figurines brought to light in both buildings date to the Hellenistic and early Imperial period and were obviously valued offerings during this period. The iconography is not restricted to the Dionysian sphere; rather one has to assume syncretistic cult practises. Although analysis is still to be completed most of the figurines were probably produced locally as the clay is tempered with little mica and sometimes has lime inclusions.
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Journal of Archaeological Science 55, 2015
We present compositional data for nearly 100 glass samples from Pergamon, western Turkey, spannin... more We present compositional data for nearly 100 glass samples from Pergamon, western Turkey, spanning 1500 years from the Hellenistic to Late Byzantine and Islamic periods. The data shows the use of alreadyknown Roman glass groups during the first half of the time frame, for imported vessels as well as locally worked glass. No compositional change is seen related to the introduction of glass blowing for either of the glass groups in use during this time. During the first half of the 1st millennium AD, two previously little-known boron- and alumina-rich compositional groups emerge. These glass groups, thought to be regionally produced, dominate glass compositions in Pergamon during the mid-to late Byzantine and Islamic periods, indicating a major shift in glass supply and a fragmentation of the economy into more regional units. Plant-ash glass, from the 9th century AD replacing mineral natron glass in the Levant, plays only a minor role in Byzantine and Islamic Pergamon.
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Annual of the Department of Antiquities of Jordan 58, 2014
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In this paper the chronological and stylistic development of ancient wall paintings in Pergamon i... more In this paper the chronological and stylistic development of ancient wall paintings in Pergamon is presented for the first time. The earliest wall decorations stem from the Hellenistic period and represent the Greek Masonry Style. Compared to other sites in Asia Minor, such as Ephesus, the relevant testimonies in Pergamon are quite numerous. Particularly well-preserved examples were found in a house superstructured by the Great Altar, in the royal palace IV and in the so-called Building Z, the assumed official residence of the city's priest of Dionysus. In the early Imperial period, in the course of Romanization, the Second Style appeared in Pergamon. It is represented inter alia in the so-called House of Attalos, on the Lower Agora and in the so-called Long Hall of the Asklepieion. The use of the Second Style is to be understood as a visual expression of loyalty to the hegemonic power of Rome. However, evidence for the Third and Fourth Style is still lacking.
The few wall paintings of the 1st cent. CE are derived from the Second style and show a simple division into base and continuous wall zone. The latter is sometimes adorned with scattered flowers comparable to examples of Augustan/Tiberian and Hadrianic times. From the 2nd and 3rd cent. CE more Roman wall paintings are preserved. The wall zones are now mostly comprised of alternating panels and pilaster stripes. The panels are usually decorated with figurative and / or objective motifs. Among the figurative motifs birds are most frequently depicted (Peristyle House II west of the Lower Agora, vault A of the Traianeum, so-called Podiensaal-Building). Extraordinary features came to light in the Podiensaal-Building, the club house of the Dionysian cult association of the Bukoloi, in the City-Excavation. In case of the wall paintings of the combined cult and dining hall, dated to the 60s of the 3rd cent. CE, the panels with their Dionysian motifs are directly related to the function of the room. The Severan ›wallpaper‹ decorations in the Peristyle House III west of the Lower Agora are without parallels.
Unlike the paintings of the Masonry Style and the Second Style, which can be described as period styles, the wall paintings of the 2nd to 4th cent. CE represent a local style that is characterized by some unique features. Western influences, as sometimes found in Ephesus, cannot be observed. From the Severan period onwards and especially in the 4th cent. CE the wall paintings were gradually replaced by marble incrustations.
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Boreas 36, 2013
Das bedeutendste Aphrodite-Heiligtum der Antike – jenes der Aphrodite Paphia in Palaipaphos auf Z... more Das bedeutendste Aphrodite-Heiligtum der Antike – jenes der Aphrodite Paphia in Palaipaphos auf Zypern – wurde von der späthellenistischen Zeit bis zur Mitte des 3. Jhs. u. Z. in mehreren zyprischen Münzemissionen dargestellt. Erstmals erscheint das Temenos auf einer wohl unter Kleopatra VII. entstandenen Prägung, deren Rückseite den charakteristischen, von zwei Thymiaterien flankierten Schrein mit dem anikonischen Kultmal und den davor gelegenen halbrunden Hof präsentiert. Dieses ikonographische Schema blieb in der frühen römischen Kaiserzeit zunächst unverändert, einzig während der Herrschaft Vespasians kursierten Münzen mit insgesamt drei verschiedenen Ansichtsvarianten. Eine daraus entwickelte, modifizierte Bildfassung begegnet schließlich zwischen den Regentschaften von Didius Iulianus und Gordian III.
Einige provinzialrömische Prägungen mit sehr ähnlichem Motiv, die unter Hadrian bis Philippus Arabs in Sardeis bzw. unter Hadrian in Pergamon in Umlauf kamen, zeigen hingegen nicht – wie in der Forschung zumeist vermutet – das zyprische Heiligtum der Aphrodite Paphia. Vielmehr handelt es sich um kleinasiatische Filialheiligtümer der Göttin. Während der Ursprung des Kultes in Sardeis im Dunkeln ist, kann er in Pergamon mit dem mythischen Heros Eurypylos verknüpft und womöglich im literarisch überlieferten Aphrodision lokalisiert werden.
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DAMALS - Das Magazin für Geschichte 43, 10, 2011
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DAMALS - Das Magazin für Geschichte 43, 10, 2011
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Awards: Humboldt Award by Holger Schwarzer
Books by Holger Schwarzer
Mit diesem Band der Altertümer von Pergamon wird ein weiterer bedeutender Bau in der Stadtgrabung am Südabhang des Burgberges bekannt gemacht. Es handelt sich um das sog. Podiensaalgebäude, ein hellenistisch-römisches Vereinshaus, das über sieben Bauphasen hinweg von der 2. Hälfte des 2. Jhs. v. u. Z. bis zur Mitte des 4. Jhs. u. Z. in Benutzung war. Der einst dort ansässige dionysische Kultverein der Bukoloi ist aus mehreren in Pergamon entdeckten Inschriften bekannt. Die ausführliche Darstellung und Interpretation des Baubestandes und der Bauphasen begleitet ein reichhaltiger Fundkatalog, ergänzt durch kulturhistorische Betrachtungen zur Stadtentwicklung Pergamons und zum Wesen des Dionysos-Kultes. Daran schließt eine umfassende bautypologische Untersuchung zu sakralen Banketträumen mit Liegepodien in der antiken Mittelmeerwelt an. Anders als in der Reihe AvP bislang üblich, geht das Werk somit weit über eine reine Grabungspublikation hinaus, indem es – an die Befunde im pergamenischen Podiensaalgebäude anknüpfend – erstmals die Entwicklung und Verbreitung derartiger Banketträume von der Archaik bis in die Spätantike darlegt.
Papers by Holger Schwarzer
The few wall paintings of the 1st cent. CE are derived from the Second style and show a simple division into base and continuous wall zone. The latter is sometimes adorned with scattered flowers comparable to examples of Augustan/Tiberian and Hadrianic times. From the 2nd and 3rd cent. CE more Roman wall paintings are preserved. The wall zones are now mostly comprised of alternating panels and pilaster stripes. The panels are usually decorated with figurative and / or objective motifs. Among the figurative motifs birds are most frequently depicted (Peristyle House II west of the Lower Agora, vault A of the Traianeum, so-called Podiensaal-Building). Extraordinary features came to light in the Podiensaal-Building, the club house of the Dionysian cult association of the Bukoloi, in the City-Excavation. In case of the wall paintings of the combined cult and dining hall, dated to the 60s of the 3rd cent. CE, the panels with their Dionysian motifs are directly related to the function of the room. The Severan ›wallpaper‹ decorations in the Peristyle House III west of the Lower Agora are without parallels.
Unlike the paintings of the Masonry Style and the Second Style, which can be described as period styles, the wall paintings of the 2nd to 4th cent. CE represent a local style that is characterized by some unique features. Western influences, as sometimes found in Ephesus, cannot be observed. From the Severan period onwards and especially in the 4th cent. CE the wall paintings were gradually replaced by marble incrustations.
Einige provinzialrömische Prägungen mit sehr ähnlichem Motiv, die unter Hadrian bis Philippus Arabs in Sardeis bzw. unter Hadrian in Pergamon in Umlauf kamen, zeigen hingegen nicht – wie in der Forschung zumeist vermutet – das zyprische Heiligtum der Aphrodite Paphia. Vielmehr handelt es sich um kleinasiatische Filialheiligtümer der Göttin. Während der Ursprung des Kultes in Sardeis im Dunkeln ist, kann er in Pergamon mit dem mythischen Heros Eurypylos verknüpft und womöglich im literarisch überlieferten Aphrodision lokalisiert werden.
Mit diesem Band der Altertümer von Pergamon wird ein weiterer bedeutender Bau in der Stadtgrabung am Südabhang des Burgberges bekannt gemacht. Es handelt sich um das sog. Podiensaalgebäude, ein hellenistisch-römisches Vereinshaus, das über sieben Bauphasen hinweg von der 2. Hälfte des 2. Jhs. v. u. Z. bis zur Mitte des 4. Jhs. u. Z. in Benutzung war. Der einst dort ansässige dionysische Kultverein der Bukoloi ist aus mehreren in Pergamon entdeckten Inschriften bekannt. Die ausführliche Darstellung und Interpretation des Baubestandes und der Bauphasen begleitet ein reichhaltiger Fundkatalog, ergänzt durch kulturhistorische Betrachtungen zur Stadtentwicklung Pergamons und zum Wesen des Dionysos-Kultes. Daran schließt eine umfassende bautypologische Untersuchung zu sakralen Banketträumen mit Liegepodien in der antiken Mittelmeerwelt an. Anders als in der Reihe AvP bislang üblich, geht das Werk somit weit über eine reine Grabungspublikation hinaus, indem es – an die Befunde im pergamenischen Podiensaalgebäude anknüpfend – erstmals die Entwicklung und Verbreitung derartiger Banketträume von der Archaik bis in die Spätantike darlegt.
The few wall paintings of the 1st cent. CE are derived from the Second style and show a simple division into base and continuous wall zone. The latter is sometimes adorned with scattered flowers comparable to examples of Augustan/Tiberian and Hadrianic times. From the 2nd and 3rd cent. CE more Roman wall paintings are preserved. The wall zones are now mostly comprised of alternating panels and pilaster stripes. The panels are usually decorated with figurative and / or objective motifs. Among the figurative motifs birds are most frequently depicted (Peristyle House II west of the Lower Agora, vault A of the Traianeum, so-called Podiensaal-Building). Extraordinary features came to light in the Podiensaal-Building, the club house of the Dionysian cult association of the Bukoloi, in the City-Excavation. In case of the wall paintings of the combined cult and dining hall, dated to the 60s of the 3rd cent. CE, the panels with their Dionysian motifs are directly related to the function of the room. The Severan ›wallpaper‹ decorations in the Peristyle House III west of the Lower Agora are without parallels.
Unlike the paintings of the Masonry Style and the Second Style, which can be described as period styles, the wall paintings of the 2nd to 4th cent. CE represent a local style that is characterized by some unique features. Western influences, as sometimes found in Ephesus, cannot be observed. From the Severan period onwards and especially in the 4th cent. CE the wall paintings were gradually replaced by marble incrustations.
Einige provinzialrömische Prägungen mit sehr ähnlichem Motiv, die unter Hadrian bis Philippus Arabs in Sardeis bzw. unter Hadrian in Pergamon in Umlauf kamen, zeigen hingegen nicht – wie in der Forschung zumeist vermutet – das zyprische Heiligtum der Aphrodite Paphia. Vielmehr handelt es sich um kleinasiatische Filialheiligtümer der Göttin. Während der Ursprung des Kultes in Sardeis im Dunkeln ist, kann er in Pergamon mit dem mythischen Heros Eurypylos verknüpft und womöglich im literarisch überlieferten Aphrodision lokalisiert werden.