Evgenia Velychko | National Museum of Ukrainian History (original) (raw)

Papers by Evgenia Velychko

A Child Burial from Kerch, 2024

This article discusses a poorly studied child elite burial discovered in 1953 at the necropolis o... more This article discusses a poorly studied child elite burial discovered in 1953 at the necropolis of Panticapaeum, situated near the modern city of Kerch, Crimea. A reassessment of previous research is urgently needed since it did not offer an analysis of Bosporan society from the perspective of childhood studies in general and local approaches to child mortality in particular. This fresh approach sheds new light on social structures and transformations within the northern Black Sea region. A broad chronological and geographical perspective is provided in order to detect changing mortuary rituals regarding deceased children in relation to shifting socio-political situations among North Pontic Greek and non-Greek societies. A survey of current social interpretations concerning the (in)visibility of children in the mortuary customs, particularly between the 4th century BCE and the 1st/2nd century CE, is followed by a detailed description of the history of research in the Panticapaeum necropolis. A comprehensive analysis of the grave goods that accompanied the deceased child is also provided. The discussed material suggests that a new form of elite self-representation, expressed through mortuary rites, appeared around the turn of the first millennium. This included a different approach to deceased children, whose ascribed status and expected, yet unfulfilled, social roles were frequently displayed by the family through the funerary ceremony.

Yu. B. Polidovych, Ye. O. Velychko Gorytos Jewelry from the 1st Vovkivtsі Mound (1897) The arti... more Yu. B. Polidovych, Ye. O. Velychko Gorytos Jewelry from the 1st Vovkivtsі Mound (1897)

The article examines the gold plates that decorated the gorytos found by S. A. Mazaraki in 1897 in the Scythian mound No. 1 near the village of Vovkivtsi (Romny Region). On the basis of the analysis, it is concluded that the plate with the image of a lion could have been cut from the upholstery of the Chortomlyk type gorytos or made according to the same matrix. Plates depicting the scene of a predator attacking a goat are original and do not have direct analogies, but they are in the same thematic circle of images originating from the Southern Urals, the Kuban, and the Dnieper Region. The plate with a plant motif is an original Scythian product, which based on a widespread antique image of a palmette. A conclusion is made about the purposeful selection of plates that corresponded to certain mythological ideas.

Інститут археологІї нан україни управлІння культури сумської обласної державної адмІнІстрацІї ком... more Інститут археологІї нан україни управлІння культури сумської обласної державної адмІнІстрацІї комунальний заклад сумської обласної ради «державний Історико-культурний заповІдник у м. путивлІ» Всеукраїнська археологічна конференція: Тези доповідей удк 903/904(4-11)"638" І 442 ISBN 978-617-7810-16-1 © автори статей, 2020 © Іа нан україни, 2020 Іллінська варвара андріївна -видатна дослідниця скіфії (до 100-річчя від дня народження). всеукраїнська археологічна конференція: тези доповідей. -київ: Іа нан україни, 2020. -90 с. ISBN 978-617-7810-16-1 збірник містить матеріали конференції, присвяченої ювілею видатного скіфолога, в. а. Іллінської. доповіді присвячені проблемам археології раннього залізного віку східної Європи. для студентів, викладачів внз гуманітарного профілю, науковців та усіх, хто цікавиться давньою історією україни і суміжних територій. удк 903/904(4-11)"638" І 442 Редактор С. А. Скорий, доктор історичних наук, професор Редколегія Д. С. Гречко, кандидат історичних наук Д. В. Каравайко, кандидат історичних наук О. О. Крютченко, кандидат історичних наук за технічної й інформаційної підтримки вго «спілка археологів україни» Затверджено до друку Вченою радою Інституту археології НАН України 17.09.2020, протокол № 6 виходить за фінансової підтримки дп «ндц "оасу"»

Ye. O. Velychko, Yu. B. Polidovych Items from the Ogu z kurgan in the Varvara and Bohdan Khanenko... more Ye. O. Velychko, Yu. B. Polidovych
Items from the Ogu z kurgan in the Varvara and Bohdan
Khanenko collection (based on the materials of the Museum of Historical Treasures of Ukraine )

Twenty six precious items from the Varvara and Bohdan
Khanenko collection discovered in the Oguz kurgan
(Lower Dnieper region) are analyzed in the paper.
These items were found by peasants in the fall of 1901
in the destroyed part of the kurgan and ended up to the
hands of antiquities traders. Now these items are kept
in the Museum of Historical Treasures of Ukraine.
The study of objects made us possible to conclude
that only decorative items for horse equipment were
of unconditional origin from Oguz kurgan (fig. 1—2).
These items complement the finds that are kept in the
State Hermitage (Sankt-Peterburg, Russia) and also
come from the Oguz kurgan. Together they are four
completes sets of decoration of horse bridle of so-called
Chertomlyk type. Some round plaques (fig. 1: 4—5)
were used for saddles decoration. The total number of
such plaques indicates that 9 or 10 saddles were found.
This determines the total number of horses buried in
the Central tomb of the Oguz kurgan. The cone (fig. 2)
served as a decoration for the horse’s neck. Five more
such items are kept in the State Hermitage. They were
found only in the Oguz kurgan.
The significant part of other items (upholstery of a
wooden bowl, jewelry, appliquйs (fig. 3) were probably
found by peasants in other steppe kurgans which were
robbed by diggers at the beginning of the 20th century.
Two small appliquйs (fig. 3: 5—6) probably come from
the necropolises of ancient Greek colonies, possibly
Chersonesos.
Unfortunately, almost all items from old or modern
private collections lose the historical context in which
they were found. Probably, some items (fig. 1: 6—9; 3:
3—4, 7—8) were «restored» by antiquities dealers and,
as a result, lost their authentic appearance.

Yu. B. Polidovych, Eu. O. Velychko, Yu. O. Bilan Articles of the scythian zoomorphic Art in the c... more Yu. B. Polidovych, Eu. O. Velychko, Yu. O. Bilan
Articles of the scythian zoomorphic Art in the collection of the Museum of Historical Treasures of Ukraine: a general overview

The Museum of Historical Treasures of Ukraine, a branch of the National Historical Museum of Ukraine, stores and exhibits the world’s largest collection of the Scythian jewelries. It took shape over many decades. The basis of the collection are items from the collection of Kiev University, the collection of Bogdan and Varvara Khanenko, funds of
the Museum of Antiquities and Arts. Excavations of the Melitopol mound in 1954 became a catalyst for the creation of the Museum of Historical Treasures, founded in 1963.
The stock meeting was formed thanks to receipts from various museums and universities of Ukraine, the largest contribution was made by the Archeology Institute of the Sciences Academy of the Ukrainian SSR. One of the important components of the Scythian collection of the museum is zoomorphic art. These are objects of the 7th—5th centuries BC, made in the Scythian “animal style”, and numerous Scythian-antique
products of the 5th—4th centuries BC. The total number of such items is 2624, representing 372 original plots, while others are their repetition. The composition of the images is well known in Scythian art: predators (including lions, leopards, wolves, dogs), deer, moose, wild goats, rams, wild boars, bulls, hares, birds, aquatic creatures, snakes, insects, fantastic creatures (griffins, horned and winged predators, winged ungulates, dragons, etc.). These are single images of animals and scenes of struggle and torment. The presented zoomorphic images adorned female and male clothes, jewelry, dishes, armaments, regalia of power, and horse bridles.

WINGED BOAR: IMAGE AT THE CROSSROAD OF THE SCYTHIAN, IRANIAN AND ANCIENT GREEK MYTHOLOGY Yu. Poli... more WINGED BOAR: IMAGE AT THE CROSSROAD OF THE SCYTHIAN,
IRANIAN AND ANCIENT GREEK MYTHOLOGY
Yu. Polidovych, E. Velychko
he gold plates adorning women’s headdresses were found in the Scythian
elite mounds of the 4th century BC Tovsta Mohyla and Chortomlyk. The
plates recreate the same plots: the scene of two griffins attacking a deer and the confrontation between a fantastic winged boar and a predator resembling a lion. The image of a winged boar is rare in Scythian times. In addition to the above, a small series of images of a protome of a wild boar with wings is known. These are gold plates originating from the 2nd Seven-Brotherhood mound (Kuban region) of the second half of the 5th century BC and Kul-Oba mound (Crimea) in the middle of the 4th century BC. Researchers have suggested that these images are borrowed from Greek coins of the second half of the 6th – 5th centuries BC. Coins with the embossed image of a protome of a wild boar with wings were found in several regions of ancient Greece: on the islands of Rhodes, Lesbos, Samos, in the cities of the west coast of Asia Minor Cyzicus and Klazomenai, and in the state of Lydia. It is noteworthy that these are the regions that were in contact with the Persian state of the Achaemenids. The image of a winged boar is not known in Greek mythology, and the boar in myths often appears as a cruel creature of Chaos, with which the heroes come into battle. Instead, in the ancient Iranian tradition, the boar is one of the incarnations of the god of war and victory Verethragna.
He, in particular, is mentioned in Yashts. The description of the boar does
not mention the wings, but speaks of its free movement in space. The notion of such a movement could have influenced the appearance of images of a winged boar. Thus, the image of a winged boar on the coins of Greek cities appeared under a certain influence of the Iranian tradition. The Scythians also represented the god of war and victory (known only by the Greek name – Ares) as a boar. This is evidenced by the images on the scabbards of swords and gorytos. And so the image of a winged boar, most likely, was a reproduction of this god. The scene of the confrontation between a wild boar and a predator on plates from the Tovsta Mohyla mound and Chortomlyk mound is located next to the scene of the griffins attacking the deer. Such scenes reproduced the idea of sacrifice for the sake of future revival. The scene of the confrontation may also be related to the idea of overcoming death and the triumph of life.

Eminak, 2019

Статья посвящена анализу ювелирных изделий из коллекции Б.И. и В.Н. Ханенко, приобретенных ими ка... more Статья посвящена анализу ювелирных изделий из коллекции Б.И. и В.Н. Ханенко, приобретенных ими как «ольвийские», которые сейчас хранятся в филиале Национального музея истории Украины – Музее исторических драгоценностей Украины. На данный момент в собрании музея удалось идентифицировать 42 украшения относящиеся к этой коллекции. Это серьги разных типов и нашивные бляшки. Поражает хронологический размах коллекции – от IV в. до н.э. до эпохи средневековья. В ходе атрибуции удалось выяснить, что «ольвийское» происхождение большинства этих украшений сомнительно. Однако некоторые, исходя из паспортных находок, вполне могли быть найдены при хищнических раскопках ольвийского некрополя в начале ХХ века.

Сходознавство, 2021

Музей історичних коштовностей України зберігає п’ять циліндрич-них печаток із халцедону, які були... more Музей історичних коштовностей України зберігає п’ять циліндрич-них печаток із халцедону, які були вилучені на митниці в кінці 1990-х –на початку 2000-х рр. Циліндричні печатки є важливим об’єктом давньо-месопотамської культури, оскільки їх намотували на глиняні таблички для ратифікації. Водночас на них були вирізані зображення з мотивами з релігії та повсякденного життя. Печатки з України дають цікавий огляд майже трьохтисячолітньої практики запечатування в Стародавній Месопотамії. Однією з найпоширеніших тем печаток є сцена посвячення, яка зображує людину, що стоїть на чолі з богинею перед сидячим божеством. На трьох печатках з Музею історичних коштовностей України зображено варіанти цієї сцени, хоча дві з них виконані грубо і мають сумнівну достовірність. Здається, вони імітують шумерський стиль Ура III. Приклади гліптичного мистецтва цього періоду можна знайти в колекції Інституту рукопису Національної бібліотеки імені В. І. Вернадського в Києві, де зберігаються три шумерські таблички Ура III з відбитками на циліндричних печатках. Третя печатка зі сценою посвячення з музею датується Старовавилонським періодом і примітна демоном Угаллу, який зображений перевернутим. Одна печатка з колекції зображує відрубані людські голови серед гілочок у квітковому мотиві. Остання печатка, яку слід обговорити, датується часом Новоассирійської імперії 1-го тисячоліття до н. е. і атрибутується за зображенням Ламассу – крилатого бика з людською головою. У цьому дослідженні представлений каталог печаток, що зберігаються в музеї, з коротким вступом до практики опечатування та її термінології автентичними мовами на Стародавньому Близькому Сході.

Velychko E., Polidovych Yu. GOLDEN FINDS FROM «NIKOPOLIAN BARROWS» FROM THE COLLECTIONS OF B. AND... more Velychko E., Polidovych Yu. GOLDEN FINDS FROM «NIKOPOLIAN BARROWS» FROM THE COLLECTIONS OF B. AND V. KHANENKO
The article is devoted to the attribution of objects from the collection of B. and V. Khanenko, which were received in the 1900s. from the market of antiquities as occurring «from the barrows near the city of Nikopol». These are various applicative decorations mostly dated to the 4th century BC. Stylistic analysis allows us to talk about the heterogeneity of this group of products and with great probability to assume that they are associated with predatory excavations of mounds in the steppe Black Sea region, the Crimea, the forest-steppe Dnieper and Middle Don region. Some of the items probably represent finds in the «royal» burial mounds, which broke out in the second half of the nineteenth century by private collections. All assumptions about the attribution of gold finds from the collection of Khanenko are provisional and based mainly on their iconographic analysis. Further research will undoubtedly help clarify, confirm or disprove the conclusions.

A Child Burial from Kerch, 2024

Yu. B. Polidovych, Ye. O. Velychko Gorytos Jewelry from the 1st Vovkivtsі Mound (1897) The arti... more Yu. B. Polidovych, Ye. O. Velychko Gorytos Jewelry from the 1st Vovkivtsі Mound (1897)

Eminak, 2019

Сходознавство, 2021