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PictosPobos británicos


caledoniosEscociaIdade de Ferro británicaEscociaAmmiano MarcelinoFlavius Iulius Constantedicalidónsverturiónsattacotiescotosreino de Albafíbulasbritónicospedras pictasconquista romana de BritaniaGaelsForthClydelingua pictalinguas britónicasCaledoniimapamundiTolomeogaélicoDál RiataReino de AlbaStrathclydeLothianSan ColumbalatínpanexíricoEumenioescotosDalriadaIrlandairlandés primitivoproto célticoUlsterbretónsgalesesinglés antigoanglosaxónsgalosAntigüidadetranshumanciaourivaríaestilo de La Tènearte insularNorthumbriaarte anglosaxoapedras pictasBesta pictaentrelazadosarte insularTraprain LawNorrie's Lawesmalteséculo VIICadea de WhitecleuchVIIIIXfíbulasMuseo BritánicoIlla de St Ninian












Pictos




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Pedra picta en Escocia, que representa unha aguia




A pedra de serpe de Aberlemno, amosando (de arriba a abaixo), a serpe, o disco dobre, o símbolo en Z e o espello




Placa de prata de Norrie's Law, Fife, con disco dobre e o símbolo en Z


Pictos (latín picti) é o nome que se lle dá aos antigos caledonios que vivían na moderna Escocia. Foron un grupo de pobos celtas da Idade de Ferro británica e o Baixo Medievo que viviron no leste e no norte de Escocia.[1]Ammiano Marcelino preséntaos divididos en dúas tribos en tempos do emperador Flavius Iulius Constante: os dicalidóns (dicalidonae) e os verturións (verturiones) e aliados cos attacoti (do gaélico athach tuatha, que significa pobo ou xente que paga rendas, oposto a xente ceibe) e cos escotos. O seu nome significaba "pintado" e debíase ao costume dos caledonios de pintarse para o combate. Pictia ou Pictavia (Pictland en inglés) convértese no reino de Alba (Escocia) durante o século X, co que os pictos pasan a ser coñecidos como Albannach ou escoceses.


Hai unha asociación coa distribución xeográfica de fíbulas, nomes de lugares britónicos e pedras pictas. Os pictos son rexistrados desde antes da conquista romana de Britania ata o século X, momento no que se pensa que se mesturaron cos Gaels. Vivían ó norte dos ríos Forth e Clyde, e falaban a extinta lingua picta, a cal se pensa que estaba relacionada coas linguas britónicas faladas polos pobos do sur. Asúmese que son os descendentes dos antigos Caledonii e outras tribos nomeadas polos historiadores romanos, atopados tamén no mapamundi de Tolomeo. Pictia ou Pictavia, mesturouse gradualmente co reino gaélico de Dál Riata para formar o Reino de Alba (Escocia). Alba expandiuse, absorbendo os reinos de Strathclyde e Lothian, e no século XI, a identidade dos pictos foi incluída na amálgama de pobos que son os escoceses.


A arqueoloxía dá algunhas aproximacións sobre a sociedade dos pictos. A pesar de que sobreviviu moi pouco da súa forma de escritura, a historia deste pobo, a partir do século IV, é coñecida por unha grande variedade de fontes, incluíndo haxiografías como a de San Columba de Iona, así como varios Anais irlandeses. Aínda que a impresión popular sobre os pictos pode ser a dun pobo escuro e misterioso, non é así en absoluto. A historia e a sociedade pictas son semellantes ás dos pobos de Europa Central, Setentrional ou Oriental na Antigüidade ou na Alta Idade Media cando se os compara con eles.




Índice





  • 1 Nome


  • 2 Sociedade


  • 3 Arte


  • 4 Notas


  • 5 Véxase tamén

    • 5.1 Outros artigos





Nome |


O nome co que os pictos se chamaban a si mesmos é descoñecido. A palabra grega Πικτοί (picti en latín) aparece por primeira vez nun panexírico escrito por Eumenio en 297 d.C. e significa "os pintados" ou "os tatuados". Porén, poderíase deber a unha etimoloxía popular anterior, pode vir do céltico Pehta, Peihta (loitador).


Os escotos e os Dalriada de Irlanda chamábanos Cruithne (cru(i)then-túath irlandés primitivo), procedente do proto céltico kwriteno-toutā. Tamén hai Cruithne no Ulster, especialmente os reis de Dál nAraidi. Os bretóns (devanceiros dos galeses) no sur coñecíanos no dialecto céltico P como Prydyn. Os termos "Bretaña" e "britano" proveñen da mesma raíz. A forma en gaélico escocés moderno Pecht provén do inglés antigo.



Sociedade |


As fontes arqueolóxicas proporciónannos evidencias da cultura material dos pictos, onde vemos unha sociedade non moi diferente nin dos seus veciños gaélicos e bretóns nin dos anglosaxóns do sur. Aínda que pode servir de moito utilizar a analoxía e o coñecemento doutras sociedades "célticas", estas esténdense por unha área moi grande, polo que basearse, por exemplo, nos galos prerromanos ou na Irlanda do século XIII como fonte para estudar a sociedade picta do século IV pode dar como resultado equivocacións ou malas interpretacións.


Como pasa coa maioría dos pobos do norte de Europa na Antigüidade, os pictos eran granxeiros que vivían en comunidades pequenas: o gando bovino e os cabalos considerábanse un signo de riqueza e prestixio, tamén había gran número de ovellas e porcos. Os topónimos suxiren que a transhumancia era común entre eles. Os animais en xeral eran pequenos para os estándares posteriores, aínda que os cabalos de Gran Bretaña exportáronse a Irlanda para cruzalos cos cabalos irlandeses e aumentar a súa medida. De fontes irlandesas chegounos que a elite adoitaba competir na cría do armentío para ter as cabezas de gando de maior tamaño e non hai razón para non pensar que os pictos tamén facían o mesmo.



Arte |




O broche de Rogart, Museo Nacional de Escocia, FC2. Fíbula picta, século VIII, prata con ouro e cristal. Clasificado como tipo Fowler H3.[2]




Pedra Kirkyard de Aberlemno, Clase II Pedras pictas.


A arte picta aparece nas pedras, na ourivaría e en pequenos obxectos de pedra e óso. Ten unha forma distintiva do desenvolvemento xeral da arte celta de precoz medieval de estilo de La Tène con influencias crecentes da arte insular do século VII e VIII en Irlanda e Northumbria, e despois da arte anglosaxoa e irlandesa da Idade Media. O legado artístico máis característico son as numerosas pedras pictas que hai por toda Pictia, dende Inverness ata Lanarkshire. Un catálogo ilustrado desas pedras foi producido por J. Romilly Allen como parte do The Early Church Monuments of Scotland, con listas dos seus símbolos e patróns. Os símbolos e patróns consisten en animais, incluída tamén a Besta picta, o "rectángulo", o "espello e peite", o "dobre disco e símbolo Z", alén de moitos outros. Hai tamén patróns e lentes con debuxos en espiral e remuíños. As chamadas cruces forxados son esculpidas con símbolos pictos, os entrelazados da arte insular e imaxinería cristiá, aínda que a interpretación é moitas veces difícil, debido ao desgaste e á escuridade. Moitas das imaxes cristiás esculpidas en pedras, como as de David o arpista, David e o león, ou escenas de St Paul e St Anthony no deserto, foron influenciadas pola tradición da arte insular.[3]


O traballo do metal é atopado por toda Escocia e mesmo máis ó sur; parece que os pictos dispoñían unha cantidade considerable de prata, probablemente a partir de incursións máis ao sur ou en pago de impostos. O enorme tesouro de prata do período romano en Traprain Law puido orixinarse das dúas formas. O máis grande achado de traballo de metais pictos foi atopado en 1819 en Norrie's Law, Fife, pero gran parte do tesouro desapareceu ou foi fundido. Dúas famosas placas de prata con esmalte do século VII pertencen a ese tesouro, unha amosada enriba, cun símbolo en "Z" cunha forma particularmente ben preservada e elegante. Desafortunadamente poucas pezas comparables sobreviviron.[4] Arredor de pesadas cadeas de prata, de 0,5 m de longo, foron atopadas deste período; a Cadea de Whitecleuch é unha das dúas que ten un anel penanular, con decoración simbólica esmaltada, o que suxire que moi probablemente fosen usados como colares.[5]


No séculos VIII e IX, após da cristianización, a elite picta adoptou unha particular forma de fíbulas de Irlanda, preferindo certos broches penanulares con terminais en lóbulos. Algunhas fíbulas pseudo-penanulares irlandesas tardías foron adoptadas polo estilo picto, como por exemplo a de Breadalbane (Museo Británico). O tesouro da Illa de St Ninian ten a mellor colección de exemplos pictos.



Notas |




  1. ↑ Foster 1996. p. 11-13.


  2. ↑ Youngs, no. 111, with a plate showing the decoration much better; Laing, 310.


  3. ↑ Henderson, Isabel,‘"The "David Cycle" in Pictish Art.' Early Medieval Sculpture. Ed. J.Higgitt.
    Oxford, 1986. pp. 87-113., ….. ‘The Meeting of Saint Paul and Saint Anthony: Visual and Literary Uses of a
    Eucharistic Motif.' Keimelia. Eds. P. Wallace and G.M Niocaill. Galway, 1989. pp 1-58.


  4. ↑ Youngs, 26-28; Poor image of 19th century illustration


  5. ↑ Youngs, 28



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The Muhammadan Periodonline editionHans William Brown research collection on 19th-century missionary work in India, 1882–1932, Ms. Coll. 1033, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvaniaee

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