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Tetradrachm Puppenreiter Type

Uitgever Uncertain Eastern European Celts
Jaar 300 BC - 201 BC
Type Log in om details te zien
Waarde Log in om details te zien
Valuta Log in om details te zien
Samenstelling Log in om details te zien
Gewicht Log in om details te zien
Diameter Log in om details te zien
Dikte Log in om details te zien
Vorm Log in om details te zien
Techniek Log in om details te zien
Oriëntatie Variable alignment ↺
Graveur(s) Log in om details te zien
In omloop tot Log in om details te zien
Referentie(s) Log in om details te zien
Beschrijving voorzijde Log in om details te zien
Schrift voorzijde Log in om details te zien
Opschrift voorzijde Log in om details te zien
Beschrijving keerzijde Prancing horse moving to the right in the 'Puppenreiter' (doll-rider) type, with a highly stylized, abstract rider or cult figure seated upon its back, rendered as a schematic anthropomorphic form with a bell- or cup-shaped torso and flanking serpentine appendages. Above the horse's back, a flame-like or torch motif rises between the rider's elements. Below the horse's raised foreleg and to the right, a geometric symbol composed of dotted globules in an angular arrangement appears alongside additional abstract devices. A dotted exergual line runs along the lower border of the field. The Greek letter Pi (Π) appears as a control mark or mint symbol to the right of the horse. The entire composition reflects the characteristic Celtic transformation of the Macedonian Philip II tetradrachm reverse type into an increasingly abstract, ritualistic design.
Schrift keerzijde Log in om details te zien
Opschrift keerzijde Log in om details te zien
Rand Log in om details te zien
Muntplaats Log in om details te zien
Oplage ND (300 BC - 201 BC)
Aanvullende informatie

The "Puppenreiter" — literally "doll rider" — designation reflects the extreme schematization that Celtic die-cutters applied to Macedonian prototypes over successive generations of copying. Philip II's original horseman, rendered with anatomical precision in the Hellenistic tradition, was progressively abstracted by Celtic craftsmen who either lacked access to fresh prototype coins or were deliberately departing from them. By this stage of degradation, the figure retains almost no figurative coherence.

Attribution to a specific tribe remains unresolved. The eastern Celtic monetary zone during this period spanned communities from the Carpathian Basin into the Balkans, and die links across find sites have not produced consensus on a single issuing group.

MISSCHIEN OOK INTERESSANT