Studiul ştanţelor sau analiza stilistică? Studiu de caz: baterea monedelor dacice Mit Bartkranzavers / Toc-Chereluş / The Study of Coin Dies or Stylistic Analysis? Case Study: the Minting of the Dacian Coins Mit Bartkranzavers / Toc-Chereluş
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|The article presents the minting process of the Mit Bartkranzavers/Toc-Chereluş coins through the perspective of the links between dies and of the stylistic relationships. The dies used to strike the coins were identified with the help of the photography and digital drawing. In interpreting the links between the dies, we have used graphic representations (diagrams) and stylistic links, for the observation of which we resorted to the comparison by superimposing the images. The results differ from the conclusions drawn from typological classification, created based on the stylistic analysis and visual comparison of the coins, which led to the arbitrary grouping of coins and the creation of inexistent varieties.
The diagram of the dies takes the shape of a discontinuous chain, composed, for each variant, of several sequences represented by groups and pairs of isolated dies. For a plausible ordering, we have resorted to stylistic analysis and, starting from the features of the monetary effigy, we have tried to establish relationships meant to unite these independent sequences. The stylistic relation-ships created a network that divides the Mit Bartkranzavers / Toc-Chereluş – common variety coins into two distinct series. Dies from the second series served as a model for issues that complete the corpus with new pairs of dies, which open the perspective on how the transition was made from the common variety to the Pecica variety. The coins of the transition variety identified in the archives of auction houses blur the break between the common variety and the Pecica variety, suggested by the structure of the hoards and the location of the discoveries. The different style, the metallographic structures, the distribution and the chronological succession of the varieties constituted arguments for the hypothetical identification of two workshops, in the sense of different craftsmen, without being able to exclude the change of the geographical location.
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