NATIONAL ARCHAEOLOGICAL MUSEUM PART II | Cherich TV

Cave of Lost Martyrs. Look at the stickers. Basket. Collected Burials. Look at the wood and cane objects from the Cave of Lost Martyrs. Mercy Lagos, Albuñol, Granada. Here are the Bone Eye Idols. Here are the Dunes of Osh. Look at this, it's a real fan. It's a real fan. Relic Creation of Beaker Drill. My God. Here are the first Bell Beaker. Grave Goods from Tom 40. This is the From Mine to Manufacture. They are already making fire here guys. Here are the instruments that they use. The bronze. Here are the Early and Middle Bronze. What is this guys? One of the elements that sets the Argyle Kucho apart is the prevalence of corpse buried beneath the floors. My God. Early Bronze Age and burial was discovered practically intact and is a real example of the high ranking forms of the initial phase of the Argyle Kucho. It corresponds to a middle-aged male who has buried with his weapons along danger in a small cellar. My God. Here are the Groves of Eyebrow Pieces, Early Middle Bronze Age. Bronze Age Societies visually mark their social differences through the use of prestige elements and metal objects played a particularly important role in this respect. Bones, weapons, and ornaments were widely used by many members of society but only the highest ranking. This competitive framework, amazing work, in the form of metal objects was the first step towards valuing and viewing them as a primitive form of money. So you know, the more powerful you are, the higher your level is when you have a lot of jewelry. Palayamon. Here are the Idols and Steles. Here are the stones. Here. This is so big, guys. Here are the floating elements. Here is the Northeast area, the old Ironfield culture. There are so many of these, guys. There are so many things to see here. A time of contrast in the Late Bronze Age, the cultural definition of Iberian Societies took quite a different route from that of the Phoebus period because its vision evolved in its own way, partly as a result of exposure to external influences. Here are the steles and the landscape. This museum is so big, guys. There are so many things to learn here. I don't know what to say. There is English and Spanish, but there are so many things. By level, there are so many things. For example, the hidden. It starts from the start. How did the ancient people do it? You know, in our elementary school history, how did they learn how to get food? How did they learn how to find the stones that they would use to make food or fire? How did they make clothes? How did they put boulders on their bodies? That's the highest level of your life if you have a lot of jewelry. That's the base. If you can reach the top, it's like that. We can't take a picture here because I'm alone. I can't take a picture of our OOTD for today. I'm wearing a dress. It's a bit cold this summer. But anyway. This is similar, guys. This is the Gold Late Bronze Age. There. Here are their bronze. So, boulders from Axtroki. Gold Late Bronze Age. When they were found, one bowl was inside the other. It has recently been suggested that these pieces and the one found in Rayonco, near the Arosa Estuary in Galicia, were probably ceremonial helmets or caps. More than an act of worship or a special ritual, of which they are the only remaining legacy in keeping with this hypothesis that decorative motifs are thought to be solar symbols. So, it has a top, guys. Let's look at the top. Let's go upstairs. We're here, guys. Let's look at the floor first. You can see how beautiful it is here. Look, guys. It's so big. So, there, guys. You can still see a lot of skin. So, down here, we already have a lot of information. Even more here on the second floor. Wow. So, there's really a lot here. This is the... the cultural mosaic. Iberia. So, this is the... La Tecnología Motor de Cambio Sociales in Iberia. So, there, guys. Let's go here. I want to take a picture here. Let's take a look. It's so beautiful here, guys. And this is the... 6th row. There. And on the right, a monstrous being holds a curved knife poised to sacrifice the figure who awaits his fate in a cold room. Get out the road, I told you. A corpse coming, non-stop, yo. You know I always got you. This is, for example, a sphinx of El Salavar. This forms of a pear. So, before I know it, in the 4th century B.C., this was already popular, guys. So, the articulated structure with triangular end pieces, a little bit of orientalism there. Like the one from El Salavar, the openworked figure. So, this was already popular. This is the painted plague. From a plague. Here, it's more... It's more... Their... way of life here. A lot of... Domestic architecture. It's so big here, guys. 47. Look at the pear here. It's called silver bear. Made of a sheet silver. In the reliefs shown here, depict a ritual combat between two youths accompanied by processions set to music. The influence of Iberian culture on this iconography is obvious in both the hairstyle and attire and the use of the percatozoid. The thickness of these blocks indicates that they once belonged to a monument of considerable size, probably a funerary or memorial structure. This is the... Shrine of Isau. This is the very... Shrine of the Sierra Morena. The shrines... The shrines are situated in the Colado de los Jardines, Santa Elena, and the cave of La Lobera. Because of their location in mining region, bronze was the primary material used for making offerings, most notably ex-votos cast using the lat-wax method. That's it. These are the male heads. These head ex-votos are thought to have been commissioned by high-ranking people who deposited their own effigies at the shrine to imbue them with religious significance. These are the female figures. Iberian shrines have also yielded numerous figurines with detailed clothing and ornaments. The headdresses and ornaments on these figures are very similar to those of the Lady of Elch. And this is the rider. This is the rider sculpture. This is the only representation of the rider found at the shrine. It has parallels in Iberian funerary sculpture and in the bronze representations from other shrines. This is the flat band crossed over the chest. It's very common among riders as an insignia of social rank of Oriental origin. It may have had ritual symbols.