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2024
Данное издание представляет собой публикацию материалов VIII Международной научной конференции «Исторические, культурные, межнациональные, религиозные и политические связи Крыма со Средиземноморским регионом и странами Востока», которая проходила в г. Севастополе с 3 по 8 июня 2024 г. Тематика докладов, представленных на конференции, была посвящена проблемам политических, торговых и культурных связей Крыма с государствами Средиземноморского региона и странами Востока в древности, средневековье, новое время; проблемам межнациональных и политических отношений народов Крыма в прошлом и настоящем, а также археологии, нумизматики и эпиграфики Крыма, и многим другим вопросам. УДК 908 ББК 63.3(6Кры)
Stratum Plus, no. 3, 2014
The author publishes a cast conic bowl. It was possibly found in the ancient Olbia. Similar vessels were excavated on a temple near the mountain pass of Gurzuf Saddle in the Crimea. Glass beakers of this type were manufactured in workshops in the Syrian-Palestinian area and, perhaps, other centers in the Mediterranean. The chronological horizon of vessels of this type spans between late 2nd— early 1st centuries BC. The beaker has an engraved graffito, a sign that can be regarded as a Greek letter or a “Sarmatian tamga”. This beaker could be introduced into the North Black Sea Region as a result of activities and military campaigns of Mithridates VI Eupator.
"Oriental" rattle-mirrors and engraved bronze discs. Summary. In 2014 in lower reaches of the Ob River near the Arctic Circle it was found a rich treasure which contained a few large bronze discs very similar to some large sculptured rattle-mirrors reverse disks earlier found only in V-III centuries BC. female burials in Altai, the Upper Ob Region and the southern Urals in Pazyryk, Kamenskaya and Prokhorovskaya cultures. In the study of these bronze discs it is found that is not the part of composite rattle-mirrors but first recorded special category of religious artifacts. On three copies not found in Scythian-Siberian art mythical horses engraved images preserved. Supposedly, these discs could be produced in the III cent. BC. in some Near Eastern handicraft centers that copied "Indian" rattle-mirrors but in accordance with their industrial and artistic tradition. Probably, in the II-I cent. BC. a kind of disk with cones and rollers relief was taken by Lower Ob population culture and had been reproduced on different metal plates and buckles for a few more centuries. Keywords: bronze rattle-mirrors, bronze discs, Scythian time, Altai, the Lower Ob Region, artistic style, mythical horses. Аннотация. В 2014 г. в низовьях Оби у Полярного круга был обнаружен богатый клад, в состав которого входило нескольких крупных бронзовых дисков, очень похожих на рельефные оборотные диски зеркал-погремушек, до этого встречавшихся только в женских погребениях V-III вв. до н. э. на Алтае, Верхнем Приобье и Южном Урале в пазырыкской, каменской и прохоровской культурах. В ходе изучения указанных бронзовых дисков установлено, что это не часть составных зеркал-погремушек, а впервые зафиксированная особая категория культовых изделий. На трёх экземплярах сохранились не встречавшиеся в скифо-сибирском искусстве гравированные изображения мифических коней. Предположительно, эти диски могли производиться в III в. до н. э. в каких-то переднеазиатских ремесленных центрах, копировавших «индийские» зеркала-погремушки, но в соответствии со своей производственной и художественной традицией. Вероятно, уже во II-I вв. до н. э. своеобразный рельеф дисков с конусами и валиками был воспринят культурой населения Нижней Оби и ещё несколько столетий воспроизводился на различных бляхах и пряжках.
Археологические памятники Евразии от неолита до средневековья, 2023
The object herein is the examination of the clay mould for brooch casting discovered in site 7 of Ecser (Hungary), investigated during May 2004 – June 2006 by rescue archaeological excavations performed prior to the construction of the express road M0, a bypass of Budapest. The mould was found in feature 4180 linked to the 3rd century AD Sarmatian settlement. Based on the morphological analysis of the Ecser mould, the author notes it was used for making brooches type Almgren group VII, series I, the headknob variation, external chord and vertical catchplate and by no means a pattern for casting Roman brooches. The recent typological analysis of brooches of the type shows that the mould was used for making brooches type Cociș-Bârcă B2a1a1, mainly used between the last two decades of the II-nd century AD and mid III-rd century AD. The presence of the mould in the settlement at Ecser evidences the production of brooches of type Almgren group VII, series I, the headknob variation, external chord and vertical catchplate (B2a1a1) in territories inhabited by the Sarmatians in the Great Hungarian Plain, as well as an existing workshop for their making nearby. Based on the origin, diffusion area of these brooches and the workshops producing them, but also certain historical and archaeological realities, the author maintains that the making of such brooches in the settlement at Ecser must be ascribed rather to an artisan arriving to the territory inhabited by the Sarmatian Iazyges or in connection with the Germanic world.The frequent presence of brooches of the type beside other brooch types and Germanic artefact categories evidence contacts and cultural and economic interferences between various populations, but it also very clearly establishes the movement direction of certain groups of Germanic populaces starting with the last quarter of the 2nd century AD.
2022
Terracotta tiles are a characteristic objects of Russian culture in the 17th century. These terracotta tiles are intended for facing stoves. The article deals with tiles and stamps for making tiles found during the archaeological study of the historical part of Tsaryovokokshaysk. A stove faced with tiles was a luxury item for the upper strata of the population. That is why the findings of tiles are more interesting in the territory of a small town, where wealthy people made up a small percentage of the population. The technology of manufacturing tiles speaks in favor of the presence of local production. Stamps found on the territory of the town for applying a pattern on tiles also indicate the presence of such production in Tsaryovokokshaysk of the 17th century. Stamps are quite rare finds on the territory of Russia, and those ones found far from the centers of tile production are of even greater value. Tsaryovokokshaysk stamps have a more complicated and varied pattern than those found in other regions earlier. The revealed tiles were described and grouped according to the composition of the drawing. In 2021 there was found a tile that had been made using a stamp found in 2015. This fact also proves the presence of local production in the town during the 17th century. The production of tiles in Tsaryovokokshaysk ceased in the 18th century due to socio-economic reasons.
Keywords: finger-ring, jewelry dress, Byzantine heritage. Cuvinte cheie: inel, set de podoaba, tradiţie bizantină. Ключевые слова: перстень, ювелирный убор, византийское наследие.
The article is devoted to the analysis of ceramics of the Boborykino appearance of Turgai. In the course of the study, general scientific historical, archaeological and natural scientific methods were applied. The initial raw materials and molding masses of ceramic products were studied using the technique of binocular microscopy and petrographic analysis. For a long time it was believed that in the Neolithic period only the tribes of the Makhandzhar culture lived on the territory of the Turgai trough, but it turned out that the ceramic complexes of the Turgai Stone Age sites are quite diverse, and some of the ceramics are not Makhandzhar, but have direct analogies in the Trans-Ural Neolithic, in particular in Boborykino culture. When analyzing the ceramic collections of the sites Bestamak, Belkaragai 1 and Sulukol 1, according to the profiling of the necks, the technique of applying the ornament, a group of ceramics of the Boborykino appearance was identified. The dishes of this group were molded from silty clays with the addition of fireclay and an organic solution; in one case, talcum gruss was added. The discovery of ceramics of the Boborykino type on the territory of the Turgai trough raises the question of its relationship with the Makhandzhar antiquities. The penetration of the Boborykino groups into the Turgai steppes was episodic, and the groups were quite small (based on the number of artifacts found), which indicates not migration, but rather family and marriage contacts.
This article is based on a comparison of graphics of Russian deesis images of the 15th-16th centuries. A detailed analysis of a large number of tracings of Deesis icons that date from different times and places leads to the assumption that their authors widely used a set of the same graphic elements repeated from icon to icon regardless of who or what is depicted, the Savior or Theotokos, an angel, an apostle, a prophet, a martyr, a bishop or a saint; regardless of whether this image is half-length or full-length; regardless of the postures and gestures of the depicted figures and their attires. These patterns are especially noticeable in drawing robes, draperies and fabrics in general. The use of these typical elements is almost mandatory, although their combination varies from image to image. The same blocks of elements can also differ slightly from icon to icon in terms of proportions, relative sizes of particular images, and the curvature of the lines. A block can be partly concealed by an element not belonging to it or used twice; its part can be mirrored, rotated at some angle, clockwise or counterclockwise, shifted or removed, while the structure of the block remains the same. An experienced eye will easily identify each block in a wide variety of icon images. This phenomenon allows us to significantly modify the idea of the strategy medieval icon painters adopt, i.e. a Deesis icon drawing was not often literally copied, at the same time, it was not invented completely anew. To a greater or lesser extent, the images were constructed from already available ready-made blocks, and some of the figures consist of them almost entirely.