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Kazanlshka Thracian Tomb
Kazanlshka Thracian Tomb
It is located in “Tulbeto” park. The original of the Thracian tomb has a special preservation regime. The 1:1 scale copy made next to it shows the architecture, archaeological materials and wall paintings of the Kazanlak tomb from the 4th-3rd centuries BC. , which is one of the most significant monuments of Thracian culture in the Bulgarian lands, included in the list of world cultural heritage by UNESCO in 1979.
The tomb of a Thracian ruler, discovered by chance in 1944 in the northeastern end of Kazanlak, is a remarkable monument of Thracian art from the early Hellenistic era in our country.
According to its architectural plan, it belongs to the domed tombs, characteristic of the burial architecture of Thrace from the end of the 5th to the beginning of the 3rd century BC.
It is located in the southern part of a burial mound oriented in the north-south direction. It consists of three rooms: a rectangular vestibule, a narrow brick corridor (dromos) vaulted with a gabled false vault, and a brick burial chamber with a circular plan and a bell-shaped dome. The entire brick body of the tomb is covered with a stone shirt of broken stones mixed with clay.
Two burials were carried out in the tomb – a man and a woman, by cremation, which is evident from the preserved bones. The insignificant number of items from the burial inventory discovered proves that the tomb was looted in ancient times. Two clay ascoses and a silver jug were found in the mound. An oinochoe and horse bones were discovered in the vestibule. A sharp-bottomed amphora, clay rosettes with dry gilt funeral wreath, small pieces of gold ornaments and fragments of local Thracian pottery were found in the domed room.
According to its architectural plan, it belongs to the domed tombs, characteristic of the burial architecture of Thrace from the end of the 5th to the beginning of the 3rd century BC.
It is located in the southern part of a burial mound oriented in the north-south direction. It consists of three rooms: a rectangular vestibule, a narrow brick corridor (dromos) vaulted with a gabled false vault, and a brick burial chamber with a circular plan and a bell-shaped dome. The entire brick body of the tomb is covered with a stone shirt of broken stones mixed with clay.
Two burials were carried out in the tomb – a man and a woman, by cremation, which is evident from the preserved bones. The insignificant number of items from the burial inventory discovered proves that the tomb was looted in ancient times. Two clay ascoses and a silver jug were found in the mound. An oinochoe and horse bones were discovered in the vestibule. A sharp-bottomed amphora, clay rosettes with dry gilt funeral wreath, small pieces of gold ornaments and fragments of local Thracian pottery were found in the domed room.
The monument owes its worldwide fame to the remarkable frescoes in the corridor and the domed chamber – some of the best-preserved works of ancient painting from the early Hellenistic period.
The unknown master worked with four main colors: black, red, yellow, and white. Both techniques were used simultaneously in decorating the tomb: wet fresco for decorative and figurative painting, and tempera for coloring the floor and walls.
The unknown master worked with four main colors: black, red, yellow, and white. Both techniques were used simultaneously in decorating the tomb: wet fresco for decorative and figurative painting, and tempera for coloring the floor and walls.
The wall decoration imitates the appearance of a richly constructed building’s façade, adorned with marble slabs and architectural details. The walls in the corridor start with a three-tiered base of rectangular orthostats in black, positioned between two raised white bands. Above the base, whose elements are depicted in relief or engraved lines, there is an undivided wall in Pompeian red. Above it, two painted friezes are arranged – the first depicting plant motifs, and the second featuring figurative images. The depicted infantry and cavalry warriors on the second frieze of the corridor reenact a meeting between two enemy forces, with a scene of combat portrayed on the western wall. The scenes reflect a historical event related to the life of a distinguished Thracian ruler buried in the tomb.
In the domed chamber, the decorative division of the walls is preserved as in the corridor, but here the base consists of white orthostats placed between black relief belts. Next is a wall once again in Pompeian red, above which colorfully reproduced architectural elements borrowed from Ionic architecture are displayed. These include a three-part architrave decorated with alternating volutes, skulls, and rosettes, followed by the main frieze with a rich figurative composition. Above it is a band adorned with oval, toothed, and corded ornamentation, culminating in a cornice with lion-headed water spouts.
In the domed chamber, the decorative division of the walls is preserved as in the corridor, but here the base consists of white orthostats placed between black relief belts. Next is a wall once again in Pompeian red, above which colorfully reproduced architectural elements borrowed from Ionic architecture are displayed. These include a three-part architrave decorated with alternating volutes, skulls, and rosettes, followed by the main frieze with a rich figurative composition. Above it is a band adorned with oval, toothed, and corded ornamentation, culminating in a cornice with lion-headed water spouts.
In the center of the main frieze, facing the entrance, the figures of a man and a woman are depicted sitting by a table laden with fruits, surrounded by their attendants bearing gifts. The scene portrays a “funerary banquet with a procession” and is rendered with realism and grace.
The touching interlocking hands of the couple embody the main idea of bidding farewell and parting with the deceased. The distinguished couple is crowned with laurel wreaths, a symbol of heroization widely prevalent during the Hellenistic era.
The touching interlocking hands of the couple embody the main idea of bidding farewell and parting with the deceased. The distinguished couple is crowned with laurel wreaths, a symbol of heroization widely prevalent during the Hellenistic era.
The wall decoration in the upper part of the dome culminates with a second small frieze depicting three chariots, each drawn by two horses. Chariot racing was a characteristic funerary custom among the Thracians. The realistic painting in the Kazanlak Tomb is the work of a first-class artist from the early Hellenistic period. The high mastery of the Thracian painter, who captured the Thracian way of life and spirit in the frescoes, is undeniable evidence of the rich cultural life of Thrace during this era. The monument dates back to the late 4th and early 3rd centuries BCE when the Thracian state, with its center in Seuthopolis – the capital city of Seuthes III, experienced a period of political, economic, and cultural prosperity.
The Thracian Tomb of Kazanlak is the first of the nine Bulgarian monuments included in the UNESCO World Heritage List.
The Thracian Tomb of Kazanlak is the first of the nine Bulgarian monuments included in the UNESCO World Heritage List.
The Thracian Tomb of Kazanlak is the first Bulgarian monument included in the UNESCO World Heritage List. It was accidentally discovered in 1944 in a burial mound on the Tyulbeto Hill, in the northeastern part of the town. The tomb gained its worldwide fame due to the unique frescoes in the corridor and the domed chamber, which are among the best-preserved works of ancient painting from the early Hellenistic period.
The tomb consists of three chambers: an antechamber built of rough stones and clay, a narrow brick corridor with a domed roof, and a brick burial chamber with a bell-shaped dome. It is covered on the outside with a casing of interlocking clay-bound stones. The remains found in the burial chamber indicate that a man and a woman were interred there. Two ceramic vessels (askoi) and a gilded silver jug were discovered in the burial mound, while the antechamber contained the bones of a horse and a ritual ceramic vessel (oenochoe). In the domed chamber, an amphora, clay rosettes with dry gilding from a funeral wreath, small parts of golden jewelry, and Thracian ceramic fragments were found.
The remarkable frescoes in the corridor and the domed chamber are the work of an unknown Thracian master who used four primary colors: black, red, yellow, and white. Both techniques were employed in decorating the tomb: wet fresco for decorative and figurative painting, and tempera for coloring the floors and walls. The pigments used were of mineral origin. Marble powder was added to the paint mixture to achieve a mirror-like sheen on the plastered surfaces.
The tomb consists of three chambers: an antechamber built of rough stones and clay, a narrow brick corridor with a domed roof, and a brick burial chamber with a bell-shaped dome. It is covered on the outside with a casing of interlocking clay-bound stones. The remains found in the burial chamber indicate that a man and a woman were interred there. Two ceramic vessels (askoi) and a gilded silver jug were discovered in the burial mound, while the antechamber contained the bones of a horse and a ritual ceramic vessel (oenochoe). In the domed chamber, an amphora, clay rosettes with dry gilding from a funeral wreath, small parts of golden jewelry, and Thracian ceramic fragments were found.
The remarkable frescoes in the corridor and the domed chamber are the work of an unknown Thracian master who used four primary colors: black, red, yellow, and white. Both techniques were employed in decorating the tomb: wet fresco for decorative and figurative painting, and tempera for coloring the floors and walls. The pigments used were of mineral origin. Marble powder was added to the paint mixture to achieve a mirror-like sheen on the plastered surfaces.
In the corridor, the decorative ornamentation is divided and crowned with two painted friezes – the first one featuring plant motifs, and the second one depicting battling warriors. The scenes reflect historical events related to the life of the buried Thracian ruler.
The walls of the domed burial chamber are also decorated. From bottom to top, they consist of a black base, a white band imitating white marble facing, and above it, a band painted in Pompeian red. This is followed by a frieze of alternating rosettes and bull heads, above which is the main frieze. Early researchers referred to the central scene as a “funeral feast,” while recent studies suggest that the scene represents a “wedding procession.” At its center, there is a prominent Thracian couple, and a tall female figure, likely a goddess, standing next to the man. The heads of the noble couple are adorned with golden laurel wreaths. On either side of them, there are figures of men and women participating in the ceremony – musicians, wine pourers, women and men carrying gifts, and leading horses. The uppermost part of the dome is divided into three sections with columns, each of which features a racing chariot with two teams.
The walls of the domed burial chamber are also decorated. From bottom to top, they consist of a black base, a white band imitating white marble facing, and above it, a band painted in Pompeian red. This is followed by a frieze of alternating rosettes and bull heads, above which is the main frieze. Early researchers referred to the central scene as a “funeral feast,” while recent studies suggest that the scene represents a “wedding procession.” At its center, there is a prominent Thracian couple, and a tall female figure, likely a goddess, standing next to the man. The heads of the noble couple are adorned with golden laurel wreaths. On either side of them, there are figures of men and women participating in the ceremony – musicians, wine pourers, women and men carrying gifts, and leading horses. The uppermost part of the dome is divided into three sections with columns, each of which features a racing chariot with two teams.
The Thracian Tomb near Kazanlak dates back to the late 4th century to the early 3rd century BCE. The high craftsmanship of the Thracian master, reflected in the frescoes depicting Thracian customs and beliefs, is undeniable evidence of the rich cultural life in Thrace during this era.
