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Bronze Age Metalwork: Techniques and traditions in the Nordic Bronze Age 1500-1100 BC (Paperback)
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Bronze Age Metalwork: Techniques and traditions in the Nordic Bronze Age 1500-1100 BC (Paperback)
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Bronze ornaments of the Nordic Bronze Age (neck collars, belt
plates, pins and tutuli) were elaborate objects that served as
status symbols to communicate social hierarchy. The magnificent
metalwork studied here dates from 1500-1100 BC. An
interdisciplinary investigation of the artefacts was adopted to
elucidate their manufacture and origin, resulting in new insights
into metal craft in northern Europe during the Bronze Age. Based on
the habitus concept, which situates the craftsmen within their
social and technological framework, individual artefact
characteristics and metalworking techniques can be used to identify
different craft practices, even to identify individual craftsmen.
The conclusions drawn from this offer new insights into the complex
organisation of metalcraft in the production of prestige goods
across different workshops. Several kinship-based workshops on
Jutland, in the Luneburg Heath and Mecklenburg, allow us to
conclude that the bronze objects were a display of social status
and hierarchy controlled by, and produced for, the elite - as is
also seen in the workshops on Zealand. Within the two main
metalworking regions, Zealand and central Lower Saxony, workshops
can be defined as communities of practice that existed with an
extended market and relations with the local elite. Attached craft,
in the sense that the craftspeople fully depended on a governing
institution and produced artefacts as a manifestation of political
expression, was only detected on Zealand between 1500-1300 BC. The
investigation presented here showed that overall results could not
be achieved when concentrating only on one aspect of metalwork.
Highly skilled craft is to be found in every kind of workshop, as
well as an intensive labour input. Only when considering skill in
relation to labour input and also taking into account signs of
apprenticeship and cross-craft techniques, as well as the different
categories of mistakes in crafting, can a stable image of craft
organisation be created.
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