PART 2/4 (ILLUSTRATIONS) / ЧАСТЬ 2/4 (ИЛЛЮСТРАЦИИ): Costume of the Ancient Eurasia (the Iranian-Speaking Peoples) / Костюм древней Евразии (ираноязычные народы). Moscow, 2006 (original) (raw)
ILLUSTRATIONS (in English, than in Russian) consisted of 5 PARTSs 2/1, 2/2, 2/3, 2/4, 2/5 after the big volume. ИЛЛЮСТРАЦИИ, состоят из 5 частей 2/1, 2/2, 2/3, 2/4, 2/5 из-за большого объема. ILLUSTRATIONS LIST - in English, than in Russian. The fig. 1–3, 22–24, 27–28, 36, 46, 58, 62–65, 84–89, 91, 97, 100, 102–103, 107, 110–123, 135, 137–138, 151–155, 157–159, 180–182, 189–190, 195, 202, 206–207, 216–218 were prepared by the author. The ADDITIONAL illustrations were prepared by the author after the book’ publication, in 2009-2018 for www.academia.edu: Figs. 2a, 12a, 17a-c,18a-b, 19a-b, 20a, 21a-g, 27a-d, 32a, 33a-d, 39a, 45a, 58a-b, 59a-b, 61a, 62a, 68a-b, 75a, 82a-d, 83, 83a-b, 87a, 101b, 103a, 107a, 109a-e, 126a, 133a, 134a-c, 135a, 140a, 156a, 161a-b, 164a, 169a, 171a, 175a, 183a, 186a, 188a-g, 206a-d, 209a, 215a, the maps 0, 28a, 62b, 101a, 156b, 203a. Some illustrations were PARTLY CHANGED (with additional elements, often colour, etc.): fig. 5, 21, 37, 59, 83, 61, 66, 97, 134, 173, 178, 194, 222. Originally all illustrations were black-white only. Later some of them replaced by their COLOUR analogies: figs. 4, 13, 15-17, 31, 33, 43-44, 48, 51, 53, 56-57, 98, 136, 160, 166-167, 170, 175-176, 184, 187, 199, 203, 215. ABBREVIATIONS LIST: А - Альбаум 1960; Aб — Альбаум 1975; Ан — Анфимов 1987; Б — Беленицкий 1973; Бе — Бессонова 1983а; Вн — Вайнберг 1977; Г — Горелик 1985; Го — Горбунова 1983; Гу — Гудкова 1964; Д — Древности... 1985; Ж — Живопись... 1954; З — Зеймаль 1979; И — Ильинская 1982; К — Калалы-гыр 2, 2004; Кр — Кругликова 1976; Л-1 — Луконин 1960; Л — Луконин 1977; Мн — Манцевич 1976; Мо — Мозолевський 1983; Не — Неразик 1966; Ни — Никитин 2000; ОЕ — Ольховский, Евдокимов 1994; П — Пичикян 1998; ПБ — Прилипко, Болтрик 1991; Пу — Пугаченкова 1978; Ра — Раевский 1977; РНЛ — Рапопорт, Неразик, Левина, 2000; Ра — Распопова 1999; Рх — Рахмонов 2001; СЖ — Скульптура и живопись… 1959; См — Cмирнов 1909; Т — Толстов 1948б 62; ТК –Топрак-кала 1984; ТЛ — Тревер, Луконин 1987; Ш — Шишкин 1963; Шл — Шлюмберже 1985; Я — Ягодин, Ташходжаев 1970; AS — al-Salihi 1991; Am — Amiet 1986; B — Belenitzki 1980; Bi — Bittner 1985; Ca — Callieri 1999; Ch — Chegeni, Nikitin 1996; Ci — Coins 1999; Co — Collon 1995; C3 — Curtis 1993; C4 — Curtis 1994; Cu — Curtis 2001; F — Fukai and oth. 1984; Fu — Fukai, Horiuchi 1982; G2 — Ghirshman 1962; G3 — Ghirshman 1963; Go — Goldman 1991; Gu — Gunter, Jett 1992; Gy — Gyselen 1995; H — Hackin, Carl, Meumie 1959; Hn — Handbuch, I-II; L — Lissarrague 1990; Ma — Marshak 1990; MN — Marshak, Negmatov 1996; M4 — Moorey 1974; MR — Marshak, Raspopova 1994; Mu — Muscarella 1988 217; N — Negahban 1996 218; Pi — Pilipko 2000 63; Pr — Porada 1962; Pu — Pugachenkova 1994; R — Ricciardi 1998; Sc — Schlumberger 1970; Sr — Seyrig 1937 207; S — Sellwood 1980; Tn — Tanabe 1998; Tr — Tarzi 1977; Th — Thomas 1965; Tm — Thompson 1965; V — Vanden Berghe 1984; Vs — Vos 1963. Рисунки 1–3, 22–24, 27–28, 36, 46, 58, 62–65, 84–89, 91, 97, 100, 102–103, 107, 110–123, 135, 137–138, 151–155, 157–159, 180–182, 189–190, 195, 202, 206–207, 216–218 подготовлены автором. ДОПОЛНИТЕЛЬНЫЕ иллюстрации были подготовлены автором после публикации книги, в 2009-2018 гг. для www.academia.edu: Рис. 2a, 12a, 17a-c,18a-b, 19a-b, 20a, 21a-g, 27a-d, 32а, 33a-d, 39a, 45a, 58a-b, 59a-b, 61a, 62a, 68a, 75a, 82a-d, 83, 83a-b, 87a, 101b, 103a, 107a, 109a-e, 126a, 133a, 134a-c, 135a, 140a, 156a, 161a-b, 164a, 169a, 171a, 175a, 183a, 186a, 188a-g, 206a-d, 209a, 215a; карты 0, 28a, 62b, 101a, 156b, 203а. Некоторые иллюстрации были ЧАСТИЧНО ИЗМЕНЕНЫ (с дополнительными деталями, часто цветными, и т.п.): рис. 5, 21, 37, 59, 61, 66, 83, 97, 134, 151, 173, 178, 194, 222. Изначально все иллюстрации были только черно-белыми. Позже некоторые из них были заменены их ЦВЕТНЫМИ аналогами: рис. 4, 13, 15-17, 31, 33, 43-44, 48, 51, 53, 56-57, 98, 136, 160, 166-167, 170, 175-176, 184, 187, 199, 203, 215. СПИСОК СОКРАЩЕНИЙ: А - Альбаум 1960; Aб — Альбаум 1975; Ан — Анфимов 1987; Б — Беленицкий 1973; Бе — Бессонова 1983а; Вн — Вайнберг 1977; Г — Горелик 1985; Го — Горбунова 1983; Гу — Гудкова 1964; Д — Древности... 1985; Ж — Живопись... 1954; З — Зеймаль 1979; И — Ильинская 1982; К — Калалы-гыр 2, 2004; Кр — Кругликова 1976; Л-1 — Луконин 1960; Л — Луконин 1977; Мн — Манцевич 1976; Мо — Мозолевський 1983; Не — Неразик 1966; Ни — Никитин 2000; ОЕ — Ольховский, Евдокимов 1994; П — Пичикян 1998; ПБ — Прилипко, Болтрик 1991; Пу — Пугаченкова 1978; Ра — Раевский 1977; РНЛ — Рапопорт, Неразик, Левина, 2000; Ра — Распопова 1999; Рх — Рахмонов 2001; СЖ — Скульптура и живопись… 1959; См — Cмирнов 1909; Т — Толстов 1948б 62; ТК –Топрак-кала 1984; ТЛ — Тревер, Луконин 1987; Ш — Шишкин 1963; Шл — Шлюмберже 1985; Я — Ягодин, Ташходжаев 1970; AS — al-Salihi 1991; Am — Amiet 1986; B — Belenitzki 1980; Bi — Bittner 1985; Ca — Callieri 1999; Ch — Chegeni, Nikitin 1996; Ci — Coins 1999; Co — Collon 1995; C3 — Curtis 1993; C4 — Curtis 1994; Cu — Curtis 2001; F — Fukai and oth. 1984; Fu — Fukai, Horiuchi 1982; G2 — Ghirshman 1962; G3 — Ghirshman 1963; Go — Goldman 1991; Gu — Gunter, Jett 1992; Gy — Gyselen 1995; H — Hackin, Carl, Meumie 1959; Hn — Handbuch, I-II; L — Lissarrague 1990; Ma — Marshak 1990; MN — Marshak, Negmatov 1996; M4 — Moorey 1974; MR — Marshak, Raspopova 1994; Mu — Muscarella 1988 217; N — Negahban 1996 218; Pi — Pilipko 2000 63; Pr — Porada 1962; Pu — Pugachenkova 1994; R — Ricciardi 1998; Sc — Schlumberger 1970; Sr — Seyrig 1937 207; S — Sellwood 1980; Tn — Tanabe 1998; Tr — Tarzi 1977; Th — Thomas 1965; Tm — Thompson 1965; V — Vanden Berghe 1984; Vs — Vos 1963.
(222 plates of illustrations will be in special file. The pages' numeration is special for each big chapter. For real book numeration move the cursor to the right border of each pages / 222 таблицы иллюстраций будут в специальном файле. Нумерация по техническим причинам – отдельная для каждого большого раздела. Подлинную нумерацию стрнице в книге можно выяснить, подведя курсор к правой границе каждой страницы). ABSTRACT: In this book, you will find a complex research of the clothes of Iranian-speaking peoples beginning from their appearance in the world politics and in the written sources of the 7th–6th cc. BC and up to the Islamization of Iran and Transoxiana in the 7th–8th cc. AD. The accessories of the costume (except belts), the military costume, the rulers’ crowns and the costume materials themselves are not the subject matter of the text; but the hairstyle and sometimes tattoos are being under consideration. The first three chapters are devoted to analysis of the main periods of pre-Islamic history of the Iranian world (the time bounds being different for different regions): [1] the Achaemenid-Scythian time (the 7th–6th cc. BC — 4th–3rd cc. BC, for Transoxiana—up to the mid. of the 2nd cc. BC); [2] the Parthian-Sarmatian time (the 4th/3rd cc. BC — the 3rd/4th cc. AD); [3] the Sassanid and Early Medieval time (the 3/4th — the 7/8th cc. AD). The sections of these chapters deal with materials on the 13 peoples: (1) the Persians of the Achaemenian time; (2) the Early Scythians; (3) the Scythians of the “classic” period (the 5th–4th cc. BC); (4) the “Pazyrykians” of the Altai; (5) the Chorasmians (for all the 3 periods); (6) the Parnes—Parthians of Iran; (7) the Sarmatians and Early Alans; (8) the Yuech-chihs / Kushans of Bactria; (9) the Sogdians (the 2nd and 3rd periods); (10) the Indo-Scythians of Gandhara; 11) the Persians of the Sassanid time; (12) the Khotano-Sakas of Southern Xinjiang (the 2nd and 3rd periods); (13) the Tokharistanians (with other ethnic elements). As far as each of the above-mentioned peoples is concerned the above-stated ideas are analyzed and new materials (including unpublished ones) are taken into account, the details of many depictions are defined and the data on peoples are generalized for the first time. First of all, we have studied the costume of these 13 peoples, which gives the most abundant and many-sided information on the costume as clothes in real life are a mass phenomenon and can be studied productively and correctly only in big series (in case of single depictions rare costume elements and the looks of gods of foreign origin are mistakenly taken for typical ones). The main tasks of the book are: 1. The reconstruction of the look of the ethnic clothing complex for each of the above-mentioned peoples: the silhouette, the cut (the information about the latter is limited) and the decorative prin-ciples, the last task being the most labour-intensive. The results allow of a reliable attribution of many artifacts from museums and private collections. 2. Eliciting the aesthetical ideal of different ethnic groups reflected in the costume; the analysis of the depictions of supposed representatives of a certain people in the art of other countries for defining the degree of the authenticity in the costume depiction and its representativeness for this ethnic group. 3. The comparative analysis of the costume of each separately taken synchronous people in each of the three main historical epochs; the analysis of the costume of each ethnic group in different periods for defining the character of the costume evolution and heredity. 4. The retrospective eliciting of the look of the original costume of the most ancient Iranians and the “costume” traces of the Iranian penetration to the west of Iran. 5. Eliciting the type of the costume contacts of ancient Iranian-speaking peoples and the difference in their importance. 6. The analysis of the summarized data on the least studied significant functions of the costume aiming at eliciting the specificity of the Iranian world and some of its peoples. We suggest a complex approach including following elements: (1) dealing with all kinds of sources alongside ob-serving the most possible scope of facts on each studied people (in case of a technical impossibility, the representative statistic excerpts are studied); (2) the proper selection of the costume décor remnants from burials under analysis (only the accounts and publications of high quality are used) excluding significantly fragmented and stylized depictions and, for some regions, images of gods; (3) the analysis of the material according to the linguistic and ethnic principles—not a regional one (which is not typical for modern research on the costume history); (4) considering all the main costume attributes of the ethnic group as a single costume complex that reflects the specificity of the people; 5) the description of the costume of each ethnic group according to the common program in chapters 1–3; (6) considering ethnic complexes against the background of the synchronous neighbouring ones and both earlier and later ones up to their successors in the 19th–20th cc. AD (otherwise the rightfulness of most conclusions is difficult to guarantee); (7) the analysis of costume evolution of separate ethnic groups under the influence of different factors; (8) compiling a special summary tables on the costume of each people (each drawing in them not being an exact copy of a definite depiction, but given in the most appropriate foreshortening without unnecessary details interfering with perception). MORE INFORMATION: 2nd Internet ed., Moscow: X-lab, 2011: http://www.narodko.ru/article/yatsenko/eurazia/ . CONTENTS: PREFACE 5 CHAPTER 1. The Achaemenian-Scythian time (7th/6th cc. — 4th/3rd cc. BC) 29 1.1. The Persians 29 1.2. The European Scythians 47 1.3. The Pazyryk culture of the Altai Mountains 83 1.4. The Khorasmians 102 The main conclusions 106 CHAPTER 2. The Parthian-Sarmatian time (3rd cc. BC — 3rd/4th cc. AD) 112 2.1. Parthian Iran 113 2.2. The Sarmatians, the Early Alans and the “Late Scythians” 131 2.3. The Yuech-chihs/Kushans 170 2.4. The Khorasmians 187 2.5. The Indo-Scythians 192 2.6. The Sogdians 197 2.7. The Khotano-Sakas 201 The main conclusions 207 CHAPTER 3. The Sasanian and Early Medieval (Pre-Islamic) time (3rd/4th–7th/8th cc. AD) 212 3.1. Sasanian Iran 213 3.2. The Sogdians 231 3.3. Tokharistan and the neighboring regions to the South 247 3.4. The Khorasmians 262 3.4. The Khotano-Sakas 266 The main conclusions 274 CHAPTER 4. The mechanisms of the costume contacts and the ways of evolution of the costume of ancient Iranians. The symbolism of costume 279 4.1. The mechanisms of the costume contacts 280 4.2. The ways of evolution of the costume of various peoples 314 4.3. The sign functions of the costume 322 The main conclusions 362 CONCLUSION 364 APPENDIX. The suggestions on the methods of fixation and description of the costume relics in burial complexes 367 Glossary 370 BIBLIOGRAPHY 371 Abbreviations 416 List of Iluustrations (in English) 418 List of illustrations (in Russian) 423 Illustrations 435-657 Summary 658 Contents 663
Съпоставително езикознание (Contrastive Linguistics), XLV, 2, 95-103, 2020
Статья содержит лингвистические заметки об наименованиях элементов одежды участников в ритуале Анастенария (болг. нестинарство), сообщенные Михаилу Арнаудову в 1914 году двумя информаторами из деревень Кости и Ятрос в Страндже, которые были свидетелями нестинарских игр. Названия отдельных частей одежды показывают многочисленные заимствования из разных языков, которые говорились в Османской империи. В сочетании со знанием об обособлености как обряда, так и греческого языка его оригинальных носителей, наименования могут пролить свет на происхождение и природу этого обычая. The article contains linguistic notes on the names of the elements of clothing of participants in the ritual of Anastenaria (bulg. nestinari), communicated to Mikhail Arnaudov in 1914 by two respondents from the villages of Kosty and Yatros who witnessed the rite. The names of the garments show numerous borrowings from different languages spoken in the Ottoman Empire. Combined with the knowledge about the isolation of both the ritual and the Greek language of its original speakers, these names are used to shed additional light on the origin and the nature of the Anastenaria rite.
Друзей медлительный уход ... Памяти Олега Шарова, 2022
Исследование посвящено анализу способов использования фибул жителями двух удаленных друг от друга регионов распространения сарматской культуры — предгорного Крыма и Венгерской низменности. Основное внимание в статье уделено типам застежек, их количеству в комплексах, расположению в захоронениях разных половозрастных групп. Выявлены общие закономерности и особенности использования фибул в костюме населением Крыма и Альфёльда. Установлено, что в этих регионах бытовали конструктивно разные фибулы, при этом доминирующим в течение всего римского времени оставался однофибульный костюм, в котором застежкой скреплялась верхняя плечевая одежда, скорее всего — куртка или распашной халат. При этом, несмотря на значительное сходство традиций использования фибул в костюме, вряд ли можно говорить о прямых контактах или взаимовлиянии населения двух отдаленных регио- нов, поскольку такая модель костюма преобладала на территории всего сарматского мира. The article analyzes the methods of use of brooches by the population of two faraway regions of the Sarmatian culture: Crimean Piedmont and Great Hungarian Plain. The study focuses on the types of brooches, their amount and situation in the burials of different age-sex groups. We succeeded in determining common consistent patterns and special features in the use of brooches by the inhabitants of the two regions, where brooches of different constructive types were in fashion. In the course of the Roman Age, the predominant costume included one brooch that fastened humeral outwear, most probably, a jacket or a robe. Despite of the significant similarity in the traditions of applying the brooches, it is doubtful whether we can speak about direct contracts or mutual influences of the populations of the two distant regions, because this costume model dominated on the whole territory of the Sarmatian world.
Практика переодевания в народный костюм в истории русской этнографии
Археология, этнография и антропология Евразии, 2019
Практика переодевания в народный костюм в истории русской этнографии В статье рассматривается практика переодевания этнографов и собирателей фольклора в народный костюм в середине XIX в. Наиболее последовательно этот вид социальной мимикрии применялся П.И. Якушкиным, который ходил по деревням в русском платье под видом коробейника. Он следовал инструкции, составленной известным литератором, историком и коллекционером русских древностей М.П. Погодиным. Подробно анализируются основные источники представлений Погодина о том, как должен выглядеть собиратель фольклора и этнограф: славянофилы с их отношением к русскому костюму, А.С. Пушкин, ходивший в красной рубахе, а также придворные анекдоты и народные легенды о высокопоставленных лицах, переодевавшихся в простое платье. В статье продемонстрировано, что практика переодевания, применявшаяся Якушкиным, хотя и использовалась несколько позднее другими этнографами (например, С.В. Максимовым и П.Н. Рыбниковым), по политическим причинам общеупотребительной не стала. Тем не менее в 1870-х гг., в период расцвета движения народников, переодевание в народный костюм вновь стало прак-тиковаться-для преодоления дистанции между интеллигентом и крестьянами или рабочими. Размывание и в итоге исчезновение сословных преград в советское время деактулизировало прагматическую функцию этой практики (вы-звать доверие), между тем как использование народного костюма в качестве политического жеста сохранило зна-чимость до сегодняшнего дня. Ключевые слова: история этнографии, П.И. Якушкин, переодевание, русское платье, мимикрия, народники. Wearing folk costume was a mimicry practiced by certain mid-19th-century Russian ethnographers and folklorists, mostly by Pavel Yakushkin, who posed as a peddler when doing fi eld work in villages. In this he followed the instruction written by the famous writer, historian, and antiquary Mikhail Pogodin. The source of Pogodin's ideas of how a folklorist and ethnographer should look like was the Slavophiles' perception of the Russian costume, Alexander Pushkin's habit of wearing a red shirt, anecdotes about courtiers, and folk legends about top-ranking persons wearing folk costumes. While the disguise fi rst used by Yakushkin was later adopted by other ethnographers, such as Sergey Maximov and Pavel Rybnikov, political reasons prevented it from spreading. Nevertheless, in the 1870s, at the peak of the Populist ("Narodniki") movement, the mimicry re-emerged as a way of bringing the intelligentsia closer to the peasants and workers. The erosion and eventual disappearance of class boundaries in Soviet Russia made such ways of winning confi dence pragmatically irrelevant; however, wearing folk costume as a political gesture is meaningful even today.
Античная древность и средние века, № 50, 2022
INLAID BUCKLES AND PLATES FROM THE GREAT MIGRATION PERIOD SHOWING RELIEF SCROLL DECORATIONS: BYZANTIUM AND BARBARICUM This article examines the inlaid artefacts with garnets decorated with carved spirals, which originate from Kerch and date from the late stage of the Great Migration Period. According to B. Arrhenius, carved gemstones occurring in Europe in the Hunnic and Post-Hunnic Periods were the products of Mediterranean workshops, primarily of Constantinople. This stone-working technology requires specific skills; the barbarians did not have this technology in the period in question. The finds from Kerch were possibly imported from Constantinople, as the Cimmerian Bosporos was closely connected with the Eastern Roman Empire in political and economic respect. However, it is still possible that the artefacts featuring the carved designs in question were produced in the Western Mediterranean workshops. The first thing to meet the eye is the appearance of a significant number of metal ware showing comparable spiral decorations in the Barbaricum in the said period. The artefacts showing the most similar style concentrated in Eastern Europe; there also are the finds of the kind from Central Europe and southern Scandinavia. It is very likely that metal objects with spiral decorations, prestigious in themselves and in some cases undoubtedly originated from “chieftain” complexes or the centres of power, imitated even more prestigious artefacts featuring carved garnets, like those found in Kerch. If it was the case, the Central European and Scandinavian finds possibly imitated not only Byzantine ware, but also certain ornaments from the Western Mediterranean, for example from Ravenna. Be that as it may, it seems that the rather wide distribution of metal artefacts featuring twoscroll spiral decorations indicates a significant influence of the elite Mediterranean / Byzantine culture on the barbarian elite, which also occurred in other elements of the “princely” civilization of the European Barbaricum in the fifth and sixth centuries.