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| 正面描述 | Celticised head of Dionysos facing right, wearing an ivy wreath rendered in a distinctly barbarian style with elongated leaves and pellet-tipped tendrils. The facial features are boldly modelled in high relief, with a prominent nose, a rounded chin accented by a pellet, and schematically rendered hair falling in ribbed locks behind the neck. The overall execution reflects the Celtic artistic tradition of abstraction and stylisation, derived from the Thasian prototype but substantially reinterpreted by the die-cutter. |
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| 正面铭文 | 登录 以查看详情 |
| 背面描述 | 登录 以查看详情 |
| 背面文字 | 登录 以查看详情 |
| 背面铭文 | 登录 以查看详情 |
| 边缘 | Plain |
| 铸币厂 | 登录 以查看详情 |
| 铸造量 | 登录 以查看详情 |
| 附加信息 |
The Thasian tetradrachm became the dominant trade coin across the central Balkans from roughly the late third century BC onward, and Celtic tribes in Thrace and the middle Danube region began producing imitations almost immediately after the type gained regional dominance. These are not crude copies — early examples track the Thasian prototype closely, and the progressive stylization seen across the series reflects generations of die-cutters working from coins rather than from the original, each step removing the image further from its source.
Göbl's classification of the Celtic Thasian imitations into distinct die classes allows reasonably precise attribution within what would otherwise be an undifferentiated mass of similar coins. Class II of plate 46 indicates a mid-to-late phase of the series, when abstraction of the prototype had already advanced considerably.