natgillin/translations-raw huggingface dataset:
Klapstolens design er enkelt og anvendeligt.
The design of the chair is simple and practical.
Således har der i nyere tid været moderne fortolkninger af dens formsprog.
In recent times there have been new interpretations of its design.
Ole Wanschers lavede i 1934 en fortolkning af stolen - den såkaldte model PJ-2000.
In 1934 the designer Ole Wanscher made a version of the chair – the so-called model PJ-2000.
Også Poul Hundevads ”Guldhøjskammel” er en fortolkning af oldtidens formsprog.
Poul Hundevad’s ‘Guldhøj Stool’ is also an interpretation of the ancient design.
Eksempelvis stod der en fornem klapstol i Tut-Ankh-Amons grav i Ægypten.
For example a fine folding chair stood in Tutankhamun’s tomb in Egypt.
Tut-Ankh-Amon døde i 1327 f.Kr. Omkring år 1400 f.Kr. dukker klapstole op i Norden.
Tutankhamun died in 1327 BC.
Stolen fra Guldhøj er fremstillet i Danmark, men dens udformning afslører, at den er skabt med inspiration fra fjerne forbilleder.
The chair from Guldhøj was made in Denmark, but its design reveals that it was made with inspiration from faraway models.
Brugen af den fortsatte længere tid endnu.
Its use continued for some time to come.
Klapstolen blev brugt til at markere den siddendes høje rang i forbindelse med ceremonier.
The folding chair marked the high rank of the seated person in connection with ceremonies.
De klapstole, der findes i Norden, må være værdighedssymboler, og de afspejler kontakten til de kulturer, der blomstrede i det østlige Middelhav på samme tidspunkt.
The folding chairs that are found in the north must be symbols of status and they reflect contacts with the cultures that flourished in the eastern Mediterranean at that time.
De var dekoreret med indslåede tinstifter i et stjernemønster; måske et symbol på den strålende sol.
It was decorated with tin tacks hammered in to form a star pattern; perhaps a symbol of the radiant sun.
Et sådant trækar var en udpræget prestigegenstand.
This was a clearly identifiable prestige object.
Metallet tin findes kun ganske få steder i Europa, og det må have været kostbart.
Tin is only found in a few places in Europe and it must have been expensive.
På grund af de gode bevaringsforhold i bronzealderens egekister er der 22 trækar, både hele og fragmenterede, i Danmark og Nordtyskland.
Because of the good preservation conditions in the Bronze Age oak coffins, 22 wooden vessels found in Denmark and northern Germany survive.
De stammer fra ældre bronzealder.
These include complete and fragmentary examples and date to the Early Bronze Age.
14 af dem er dekoreret med tinstifter.
Fourteen of them are decorated with tin tacks.
Denne type kar er kun fundet fra området omkring Ringkøbing og syd på mod Nordslesvig.
This type of vessel has only been found in the area around Ringkøbing and southward towards North Schleswig.
De blev formentlig brugt over hele det danske område, men kun i de jyske egekistegrave var bevaringsforholdene så fine, at træet kunne overleve til i dag.
They were probably used all over the Danish area, but only in the Jutland oak-coffin graves were the preservation conditions so favourable that the wood could survive until today.
Måske har karrene, der fortrinsvis optræder i mandsgrave, spillet en rolle i forbindelse med drikke-ritualer ved gravlæggelsen.
Perhaps the vessels, which mainly appear in men’s graves, played a role in connection with drinking rituals at the funeral.
Manden fra Guldhøj fik sikkert de fine kar med sig til dødsriget, fordi han havde en høj status.
The man from Guldhøj was probably given the fine vessel on his way to the kingdom of the dead because he was of high status.
Gården ligger med en fremragende udsigt over Vadehavet og er fuldt møbleret.
The house has an outstanding view over the Wadden Sea and is fully furnished.
Den rummer usædvanligt gode eksempler på 1700-tallets detaljerede malerhåndværk og snedkerarbejde, og inde i hjemmet kan man også opleve hele vægge udsmykket med tidstypiske hollandske fliser.
It contains unusually good examples of 18th century detailed painting and joinery.
I en lade kommer man helt tæt på et kæmpe skelet fra en kaskelothval, der giver et godt indtryk af, hvilke store dyr og naturkræfter datidens kaptajner kæmpede med i det nordlige ishav.
In the barn you can view the large sperm whale skeleton, which gives a good impression of the large creatures and forces of nature that the period’s sea captains had to contend with on their voyages to the Arctic Ocean.
En hyggelig café tæt ved gården serverer lækre frokostretter og hjemmebagte kager, og udenfor er der god plads til at lade børnene lege.
A cosy cafe close to the house serves delicious lunches and homemade cakes, and outside there is ample space for children to play.
Tager du madpakken med, er der rig mulighed for at slå sig ned i området og lade sig betage af den smukke natur og flotte havudsigt.
You can also bring along a packed lunch and sit down in the area near the house, whilst enjoying the beautiful nature and pleasant sea views.
Vi glæder os til at byde dig velkommen til en hyggelig og oplevelsesrig dag på Kommandørgården.
We look forward to welcoming you for an enjoyable and eventful day at the Sea Captain’s House.
I foråret 2011 blev Kommandørgården gennemfotograferet af den kendte interiørfotograf Antony Crolla til et af verdens mest kendte og trendsettende boligblade, det engelske "World of Interiors".
In spring 2011 the Sea Captain’s House was extensively photographed by the well-known interior photographer Antony Crolla for one of the world’s most renowned and trendsetting interior homes magazines, the English publication "World of Interiors".
Kommandørgården blev gennemgribende istandsat i 1998.
The Sea Captain’s House was thoroughly renovated in 1998.
Istandsættelsen er muliggjort takket være en donation fra A. P. Møller og hustru Chastine McKinney Møllers Fond til almene Formål.
The work was made possible thanks to a donation from A.P. Møller and Chastine Mc-Kinney Møller's Foundation for General Purposes.
Dagsbillet voksen DKK 50
Day Ticket Adult DKK 50
1 barn + 1 voksen DKK 40
1 Child + 1 Adult DKK 40
Barn under 18 år gratis
Child under 18 is free
Årskort + 1 ledsager DKK 125
Season Pass + 1 Companion DKK 125
Den ene egekiste var en voksenkiste, der var blevet plyndret.
One of these was an adult’s coffin which had been robbed.
Den anden var en barnekiste, der havde været foret med sort gedeskind.
The second was a child’s coffin, which had been lined with black goatskin.
Liget af barnet var opløst til ”en vællingagtig, rødlig masse”, som finderen beskrev det.
The body of the child had decomposed into ‘a gruel-like reddish mass’, as the finder put it.
I barnekisten lå rester af noget vævet tøj, to indtørrede æbler samt et pileskaft.
In the child’s coffin lay the remains of some woven clothing, two dried apples and an arrow shaft.
Den tredje egekiste tilhørte en voksen mand.
The third oak coffin belonged to an adult male.
Både klapstolen og en drejet træskål dekoreret med indslåede tinstifter må betegnes som sjældne pragtgenstande.
Both the folding chair and a turned wooden bowl decorated with tin tacks can only be described as rare objects of high prestige.
Der er dog ikke entydigt bevis for, at tamhesten kom til Europa før andet årtusinde f.Kr.
However, there is no clear evidence that the domesticated horse came to Europe before the second millennium BC.
I de sydøstlige dele af kontinentet er hesten formentligt kommet til i forbindelse med brugen af stridsvogne.
In the southeastern part of the continent the horse probably arrived in connection with the use of war chariots.
Hesteformede hanke ses på en del guldskåle fra yngre bronzealder, bl.a. denne fra Mariesminde Mose på Fyn.
Horsehead-shaped handles appear on the golden bowls of the Late Bronze Age, among others on this bowl from Mariesminde Mose on Funen.
Motivet møder vi på bronzegenstande som rageknive og på helleristninger i store dele af Skandinavien, men det fineste eksempel af dem alle er Solvognen.
We find the motif on bronze objects such as razors and on rock carvings in large parts of Scandinavia, but the finest example of them all is The Sun Chariot.
Billederne kan tolkes som en fortælling om solens rejse over himlens bue om dagen og gennem underverdenens mørke om natten.
The pictures can be interpreted as a narrative about the sun’s journey across the vault of the heavens by day and through the darkness of the underworld by night.
Tilværelsens ramme var det evige kredsløb med en bestandig vekslen mellem lys og mørke.
The framework of existence was the eternal cycle with its constant alternation of light and darkness.
Dette blev anskueliggjort med Solvognen, hvor en guddommelig hest trækker solen.
This was illustrated by The Sun Chariot, where a divine horse pulls the sun.
Ikke alene hesten var solens hjælper.
The horse was not the sun’s only helper.
Tidens billedverden er fuld af skibe.
The imagery of the period is full of ships.
Solen blev på sin færd også transporteret af Solskibet.
On its journey the sun was also transported by the Sun Ship.
Andre af solens mytologiske hjælpere var fisk, slanger og svømmefugle.
Other mythological helpers of the sun were fish, snakes and swimming birds.
Ved denne metode fremstiller man, oven på en lerkerne, en voksmodel af vognens dele.
With this method a wax model of the parts of the chariot is made over a clay core.
På hestens ryg er en skade, der tillader os at kigge ind i figuren – her kan vi se den indre lerkerne, om hvilken bronzen er støbt.
On the back of the horse there is damage that permits us to look inside the figure and see the inner clay core around which the bronze was cast.
Muligvis har offeret også omfattet et lerkar.
The offerings may also have included a ceramic vessel.
Hvor de fremmedartede Viksø-hjelme er produceret, er ikke fuldt afklaret, måske i Mellemeuropa, måske i Nordtyskland.
It is not clear where the extraordinary Viksø helmets were produced.
I alle tilfælde har håndværkerne været påvirket af bronzekunsten i det østalpine Donau-område.
Under all circumstances the craftsmen were influenced by the bronze work of the east Alpine Donau area.
Hornede hjelme må have været velkendte i Norden.
Horned helmets must have been familiar objects in the North.
Talrige helleristninger, især fra Vestsverige, viser dem i brug.
Numerous rock carvings, especially from western Sweden, show men wearing horned helmets.
Men fra Grevinge i Odsherred kendes et 32 cm langt horn svarende til de horn, der sidder på Viksø-hjelmene.
However, a 32 cm long horn from Grevinge in Odsherred is known, which parallels the horns of the Viksø helmets.
Afbildninger af hjelmklædte mænd kendes også fra de svenske helleristningsfelter.
Images of helmet-clad men are also known from Swedish rock carvings.
Hver hjelmkalot er sammenføjet af to nittede halvdele.
Each bronze helmet consists of two halves joined by riveting.
Over issen er placeret et korsformet beslag med en ophøjet kam og et krogformet næb.
A cross-shaped fitting is placed over the crown featuring a raised comb and a hooked beak.
Langs kammen i midten er der en dyb rille, hvor man kunne montere fjer eller hårduske.
A deep groove runs along the middle of the comb, in which feathers or tufts of hair could be mounted.
Små cylindriske beslag, ligeledes til fjer eller hårduske, er også placeret på kammens tværarme – et på hver side af midten.
Small cylindrical mountings, likewise for feathers or tufts of hair, are also located on the cross-plate bisecting the comb – one on each side.
På hver side af næbbet er et stort hvælvet øje og en markeret øjenbrynsbue.
On either side of the beak is a large bulging eye with an arched eyebrow.
Ved hjælp af bøsninger er to horn fastnittet på hver af hjelmene.
Two horns are firmly riveted to each helmet with the help of fixed circular fittings.
Yderligere er hjelmene dekoreret med små drevne bukler.
The helmets are also decorated with small bosses.
I stedet må vi forestille os, at de er blevet anvendt i forbindelse med forskellige religiøse ritualer.
Instead we can imagine that they were used in connection with different religious rituals.
En idé om, hvordan hjelmene blev brugt, kan vi få ved at se på figurer og afbildninger af hjelmklædte mænd.
We can get an idea of how the helmets were used by looking at figures and depictions of helmet-clad men.
To små mandsfigurer af bronze, som blev fundet i 1700-tallet ved Grevensvænge nær Næstved, bærer hjelme med svungne horn i stil med dem fra Viksø.
Two small male figures of bronze were found in the 18th century at Grevensvænge, near Næstved.
Kun den ene figur er bevaret i dag, men gamle tegninger af fundet viser, at de to mænd oprindeligt sad på knæ ved siden af hinanden, og at de begge havde en stor pragtøkse i den ene hånd.
Only one of the figures is preserved today, but old drawings of the find show that the two men originally knelt down besides each other and each had a large ornamental axe in one hand.
Samme motiv med knælende mænd med økse i hånden og hjelm på hovedet er afbildet på en ragekniv fra Vestrup på Sydsjælland.
The same motif, of kneeling men wearing helmets and carrying axes, is depicted on a razor from Vestrup in south Zealand.
På ragekniven sidder mændene i en båd.
The men are sitting in a boat.
Kombinationen af skib og mænd med hjelm og økse finder man også af og til på de svenske helleristninger.
The combination of men with helmets and axes is also found on Swedish rock carvings.
Over båden udfører en tredje person et akrobatisk spring.
A third person is jumping acrobatically over the boat.
Der er antageligt tale om rituelle scener eller danse udført til ære for solen, som var det helt centrale element i bronzealderens religion.
Ritual acts or dances were apparently carried out in honour of the sun, which was the central element of Bronze Age religion.
For bronzealderens mennesker var de mættet med budskaber og knyttede sig til myter om hellige dyr og guddommelige magter.
To the people of the Bronze Age they were rich in religious meaning and probably related to myths about holy animals and divine powers.
De har på én gang fungeret som hjelme og masker; de er nemlig udstyret med øjne og et krumt næb.
They functioned both as helmets and masks, as they were equipped with eyes and a hooked beak.
Det krumme rovfuglenæb og de store, runde øjne angiver måske, at det er en ugle.
The hooked beak of a bird of prey and the large, round eyes perhaps indicate that it is an owl.
Flere træk giver forbindelse til dyr.
Further features are connected to animals.
Hjelmenes horn må referere til oksen.
The horns on the helmets must relate to the ox.
Over issen løber en kam med en fure beregnet til indsættelse af hår - måske hestehår, så hjelmene har haft manke som en hest?
This hair may have been from a horse, so that the helmets had manes like horses.
Endelig kunne man stikke fjer, fra en trane eller en anden større fugl, ind i de to hule rør og i enden af begge horn.
Finally feathers from a crane or another large bird could be stuck in to the two small cylindrical fittings and in the ends of both horns.
Men hvorfor var det vigtigt at udtrykke alle disse forskellige dyr i hjelmenes udformning?
But why was it important to incorporate all these different animals into the design of the helmets?
Forneden på hjelmene, langs kanten, findes stiliserede skibsbilleder, dannet af en række små indhamrede buler.
Along the edge at the base of the helmets are stylised ship pictures made out of a row of small hammered dents.
På hver hjelm er der to skibe, som forløber fra pande til nakke.
On each helmet are two ships, which stretch from the front to the back of the helmet.
Skibenes stævne afsluttes i form af svømmefugle – and, svane eller lappedykker.
The ship’s prow is furnished with a water bird – duck, swan or grebe.
Vi står overfor Solskibet, bronzealderens vigtigste religiøse symbol.
This is the Sun Ship, the most important religious symbol of the Bronze Age.
Svømmefuglen havde en særlig betydning i bronzealderens forestillinger omkring solens gang rundt og rundt.
The water bird had a special significance in Bronze Age perception of the sun’s continual cycle.
Solens rejse
The sun’s journey
Billedet af Solskibet på hjelmene fra Viksø henviser til en central myte i bronzealderens religion, myten om solens evige rejse rundt og rundt, hjulpet af bl.a. Solskibet.
The picture of the Sun Ship on the helmets from Viksø refers to a central myth in Bronze Age religion.
En anden vigtig hjælper ved solens færd er solhesten, der trækker solen over himlen.
The other important helper on this journey is the sun horse, which pulls the sun across the sky.
Også hesten – det ædleste og helligste af alle dyr – har været til stede på hjelmene, i form af en manke.
The horse, which is the noblest and holiest of all animals, is represented on the helmets in the form of a mane.
Oksen, repræsenteret ved hornene, kan symbolisere styrke og rigdom.
The ox, represented by the horns, can symbolise strength and wealth.
I mange religioner er oksen også et himmelsymbol.
In many religions the ox is also a heavenly symbol.
Rovfuglen, som udgør hjelmenes maske, kan også knyttes til myten om solens evige færd.
The bird of prey, which constitutes the masks on the helmets, may also be connected to the myth about the sun’s eternal journey.
Hvis det er en ugle, relateres der sandsynligvis til natten.
If it is an owl, this probably relates to night-time.
Endelig kan de påsatte fjer fra tranen, som i øvrigt ses gengivet på svenske helleristninger fra bronzealderen, være knyttet til årstidernes gang.
Finally the added feathers from the crane, which can also be seen in Bronze Age rock carvings from Sweden, may be connected to the changing of the seasons.
Tranen er den største og smukkeste af trækfuglene.
The crane is the largest and most beautiful of the migratory birds.
Hele den symbolverden, som fremtræder på hjelmene fra Viksø, understreger deres funktion som hellige genstande brugt ved udførelsen af ritualer i religionens tjeneste.
The whole symbolic world, which is represented on the Viksø helmets, emphasises their function as holy objects used in religious rituals.
Solens rejse kan illustreres ved hjælp af billeder fra bronzealderens rageknive.
The sun's journey across the sky can be illustrated by the pictures shown on razors from the Bronze Age.
Du kan læse mere om bronzealderens religion her.
Read more about Bronze Age religion here.
De er produceret i perioden 1000-800 f.Kr.
They were produced in the period 1000-800 BC.
Guldskålene er som regel nedlagt som ofre – oftest i par og flere sæt sammen.
The golden bowls were as a rule deposited as sacrifices – usually in pairs and several sets together.
Der kendes 40 guldskåle fra Danmark.
We know of 40 golden bowls from Denmark.
Det største fund stammer fra en mose ved Mariesminde på Fyn, hvor 11 skåle fandtes i en bronzespand fra Mellemeuropa.
The biggest find comes from a bog near Mariesminde on Funen, where 11 bowls were found in a bronze bucket originating from central Europe.
Guldskålene er udsmykket med solsymboler, og flere har en hank med hestehoved.
The golden bowls are decorated with sun symbols and several have a handle with a horse’s head.
De kan være brugt som drikkebægre ved rituelle fester, hvor de muligvis har indeholdt en berusende drik.
They may have been used as drinking cups at ritual feasts and possibly contained an intoxicating drink.
Café
Cafe
Kommandørgården har en hyggelig café med udsigt over Vadehavet.
The Sea Captain’s House has a cosy cafe where you can enjoy views over the Wadden Sea.
I billetsalget kan man købe postkort, små souvenirs og mindre bøger og pamfletter om gården og Rømøs historie.
At the ticket office you can buy postcards, small souvenirs, as well as books and pamphlets about the house and Rømø’s history.
Der er let adgang til hvalskelettet og de historiske særudstillinger i gårdens lade.
There is easy access to the whale skeleton and temporary exhibitions in the barn.
Hvad man har drukket af skålene er uklart.
It is not clear what was drunk from the bowls.
Man kan forestille sig, at de har været brugt til alkoholiske drikke.
They may well have been used for alcoholic drinks.
En alkoholisk drik er kendt fra Egtvedpigens grav, der dog er af lidt ældre dato.
Such a drink is known from the grave of the Egtved Girl, but this is from a slightly older date.
I hendes grav stod en barkspand med rester af en gæret drik brygget af hvede, tytte- eller tranebær samt honning.
In her grave there was a bark bucket with the remains of a fermented drink brewed from wheat, cowberries or cranberries and honey.
Måske var det en lignende drik, man havde indtaget af de kostbare skåle.
Perhaps it was a similar drink that was consumed from the valuable bowls.
En speciel drik eller lejlighed må der have været tale om, eftersom den skulle indtages af guldbægre.
It must have been a special drink or occasion, since the golden cups were used.
Alkoholiske drikke kunne medføre en rus eller trance, der kunne være en vigtig del af ritualerne i bronzealderens religion.
Alcoholic drinks could lead to intoxication or trance, which might have been an important part of the rituals of the Bronze Age religion.
Gennem rusen kunne mennesket overskride grænsen mellem hverdagen og den overnaturlige verden.
When intoxicated a person could transcend the boundary between the everyday and the supernatural world.
Alkohol er dog ikke den eneste måde, bronzealderens mennesker kunne opnå en trancelignende tilstand.
However, alcohol was not the only way people could achieve a trance-like state.
Dans, musik samt mangel på mad, drikke og søvn kan også medføre sådan en tilstand – måske har disse midler også været anvendt i bronzealderens rituelle ceremonier.
Perhaps these means were also used in the ritual ceremonies of the Bronze Age.
I dette kar lå 11 guldskåle.
In it lay 11 gold bowls.
Han modtog en findeløn på 1100 rigsdaler, der svarede til 7-8 års løn for en husmand – det var en danefægodtgørelse, der faldt i god jord.
He received a finder’s reward of 1100 Rigsdaler, which corresponded to 7-8 years’ income for a smallholder.
Dets gyldne farve associeres instinktivt med solen.
Its golden colour is instinctively associated with the sun.
Vi må formode, at religionen i bronzealderen var tæt knyttet til naturen.
We must assume that the religion of The Bronze Age was closely linked with nature.
Solen hørte sammen med årstiderne, og solens bevægelse over himmelen indgik i det daglige skift mellem nat og dag.
The sun determined the seasons, and the movement of the sun over the sky was part of the diurnal alternation of night and day.
De solsymboler, der findes i bronzealderens kunst, er derfor ikke tilfældige.
The sun symbols found in Bronze Age art are therefore not coincidental.
På samme måde som solvognens solskive kan illustrere solen, kan også de indstemplede cirkler, som vi ser på guldskålene, opfattes som solsymboler.
Just as the sun disc of The Sun Chariot illustrates the sun, the stamped circles we see on the gold bowls can be interpreted as sun symbols.
Guld og solsymboler spillede en vigtig rolle i bronzealderens ritualer.
Gold and sun symbols played an important role in The Bronze Age rituals.
Hankene er lavet af bronzestænger beviklet med guldsnor, der ender i hestehovedfigurer.
The handles are made of bronze bars wound with gold thread that end in horsehead figures.
Disse hestehoveder er af samme type, som man kan finde på bronzealderens rageknive – på rageknivene er de dog i mindre størrelse.
These horses’ heads are of the same type as one can find on the razors of the Bronze Age – although on the razors they are smaller.
Hestehovedernes udformning er i nordisk stil.
The design of the horses’ heads is in the Nordic style.
Hestemotivet dukker op omkring år 1500 f.Kr. og er derefter et yndet motiv.
The horse motif appears around 1500 BC and after that it is widely used.
Hesten spillede en vigtig rolle i bronzealderens religion – måske derfor er hestemotivet valgt til guldskålenes hanke?
The horse played an important role in the Bronze Age religion – perhaps that is why the horse motif was chosen for the handles of the bowls?
En anden mulighed er, at hankene skulle opfattes som et skibs hestehovedstævn.
Another possibility is that the handles were meant to be seen as the horsehead prow of a ship.