Галут О.В. Золотая нашивная бляшка с солярными мотивами из Уташского склепа: семантика и символика / Galut O.V. The gold sew plate with solar motives from the Utash crypt: semantic and symbolic (original) (raw)
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Всадник, предстоящий богине в боспорском искусстве: происхождение и символика образа О.В. Галут Докторант кафедры теории и истории культуры КГУКИ Rider coming to the goddess in Bosporus art: origin and the symbolism of the image O.V. Galut Аннотация Искусство Боспора представляет собой динамическую систему, представленную в виде подмножества текстов, состоящих из закодированных определенным образом символических рядов. На Боспоре архаический сюжет «богиня и предстоящий герой» образуют символический ряд: «всадник, предстоящий богине», «Мировое древо», столб-коновязь. Нет никаких прямых указаний мифа, который позволил бы интерпретировать чрезвычайно часто встречающийся сюжет в искусстве Боспора «всадник, предстоящий женщине, сидящей в кресле».
‘Gold’ in Yashts: To the Semantics of the Image of Vayu / ‘Золото’ в Яштах: до семантики образу Вайу
Shìdnij svìt, No. 2. Pp. 63-80., 2019
Among all types of metals in the texts of the Young Avesta, ‘gold’ is the most used. The maximal number of references to this metal (forty) is given in the Yasht 15. This text belongs to the Great Yashts in terms of volume, and by the type is hymn, that dedicated to the deity Vayu, the embodiment of air and atmosphere, who also acts as the patron of warriors and the god of death. Nine compound adjectives with the subword ‘gold’ are concentrated in the strophe 57 of this Yasht, the translation and analysis of which are provided in the paper. The B7 manuscript is used for translation (Bombay University Library, Mumbai, 1813). The analysis of the image of Vayu in this text shows that this deity is equipped with golden assemblage, weapons and clothing. According to Yasht 15 Vayu offerings are made from the place that is always decorated with gold, by the most prominent Mythical heroes and Ahura Mazda himself. The image of Vayu attracts attention for the interpretation of the semantics of funerary vestments of the so-called “golden people” from the burials of Iranian-speaking nomads of Eurasia (in particular, the Saka aristocrat from the Issyk 4th BC burial mound). Basically, Scythologists see in the funerary golden assemblage the solar semantics, the relation to the Iranian concept of xvarənah and the image of the “sun” god Mithra. However, it looks like a promising interpretation of the image of the “golden people” of elite burials of the Scytho-Saka world through the prism of Iranian ideas about Vayu.
Труды Государственного Эрмитажа: [Т.] 121: Византия в контексте мировой культуры: материалы научной конференции памяти А. В. Банк (1906–1984). СПб.: Изд-во Гос. Эрмитажа, 2024. С. 253-269, 2024
The article presents a comprehensive analysis of a collection of glazed ceramics with the three-line Greek inscription HΣΑΑΚ ΑΥΘΕΝΤΟΥ (Isaac the Ruler) from the excavations of the Mangup Princely Palace. It includes eighteen fragments of small red-clay bowls and goblets, covered with monochrome yellow glaze. The inscription was made using the sgraffito technique and placed in the centre of the front part of the vessels, as a rule, in a medallion of double concentric engraved lines. Three variants of its reproduction, differing in details, have been traced, which allows us to suggest that several series of such watering bowls and goblets were produced in a relatively short period of time. Judging by their manufacturing technology, we deal with local pottery products. The group of glazed ceramics under consideration is definitely associated with the name of Prince Isaac, one of the last rulers of the Principality of Theodoro, which allows us to date it within the range of 1465–1475. The most important argument for such an attribution is the title of its owner – ὁ αὐθέντης, which corresponds to the title of the ruler of this principality throughout its history in the fifteenth century. Mapping of items with the inscription HΣΑΑΚ ΑΥΘΕΝΤΟΥ indicates their exclusive connection with the Mangup Palace complex, which indicates the constant presence of Prince Isaac here during his reign.