Ka-mərəδa in the Art and Ritual of the Scythians? (To Semantics of the Image of Head) / Ka-mərəδa в мистецтві та ритуалі скіфів? (До семантики образу голови) (original) (raw)
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Forum Olbicum II - Ольвійський форум ІІ, 2018
Рекомендовано до друку рішенням правління Миколаївської обласної організації Національної спілки краєзнавців України (протокол № 2 від 15 квітня 2018 р.) РЕДАКЦІЙНА КОЛЕГІЯ: ГАВРИЛЮК Н.О. (доктор історичних наук, старший науковий співробітник), ГОСПОДАРЕНКО О.В. (кандидат історичних наук, доцент), КУЗОВКОВ В.В. (кандидат історичних наук, доцент), МОЛЄВ Є.О. (доктор історичних наук, професор), НОВІЧЕНКОВА М.В. (кандидат історичних наук, молодший науковий співробітник), РИЖЕВА Н.О. (доктор історичних наук, професор), СМИРНОВ І.О. (кандидат історичних наук, доцент), ТВЕРДЕЦЬКИЙ АЛЬФРЕД (доктор гуманітарних наук), ТРИГУБ О.П. (доктор історичних наук, професор), ЧЕРНЯВСЬКИЙ В.В. (кандидат історичних наук, доцент) ВІДПОВІДАЛЬНИЙ ЗА ВИПУСК: СМИРНОВ О.І.
The finding from Perederieva Mohyla kurgan has been studied for thirty years. The object has an interesting form – its abriss resembles the helmet. It is defined by embossed decoration on the surface: the image of Scythians – four youths and two elder men. The composition of the “helmet” is the source for studying Scythian costumes as well as the semantics of plots located on frieze. The images are made in Bosporan style: the characteristic schemes of classical Greek art were used for interpreting the Scythian images. However details in depiction of characters’ clothes, weapons, etc. show that characters were not created according to stencils, but have individual characteristics. Scholars suggested several versions of “reading” the plot on the “helmet”. The theory of German researcher K. Stähler is of particular interest: two scenes are interpreted by him as events related to Scythian king Ariapithes and his sons Scylas, Oricus and Octamasadas. Similar version: both scenes show peculiar elationships between three brothers – kings. There are other hypotheses about the interpretation. One of the first: the battle between Scythians, returning from Asia Minor (bearded warriors) and children of Scythian women and slaves. Similar assumption: Scythian warriors fighting with treacherous women and their children. One of the scenes is considered to be the reflection of Scythian war tradition: scalp removal. In all hypotheses scholars see the scenes on the “helmet” as the illustrations of narrations from “The Histories” by Herodotus. It is quite possible, however, that we cannot “read” the specific plot of the scenes on the item, as “pictures” were understandable only to the customer. It is also possible that it represents the heroic past, while images are the tribute to the ancestors memory. Generally, the plot emphasizes the great role of the hero in Scythian ideology. There are several assumptions, concerning “helmet’s” usage: cult object, the upper part of bunchuk. According to one of the hypothesis this item is the decor of ceremonial headwear – pylos, the mark of affiliation to high social ranks. It is possible that “the helmet” from Perederieva Mohyla kurgan was the reward of Scythian warrior, which granted him a rank of Pylophore. Keywords: Perederieva Mohyla, Scythian dress, Bosporan style, narrative
Балкано-кавказские параллели в языке и культуре (на примере образа героя в шкуре леопарда)
В статье рассматриваются возможные пути проникновения кавказских культурных и языковых элементов в индоевропейское пространство. Особое внимание уделяется греческо-картвельским параллелям в континууме анатолийских культур, в частности миграционному образу «витязя в леопардовой или барсовой шкуре». Реконструкция на текстовом и изобразительном материале культурных традиций Средиземноморья, истоки которых берут свое начало в неолите и даже палеолите, дала возможность выстроить матрицу функциональной семантики шкуры в указанном культурном пространстве. Шкура леопарда как символ последнего посвящения свидетельствует об особом духовном, а затем и социальном статусе ее властителя, об его непрерывной связи с божественным женским началом.
Скіфське щорічне ὁρτη (Herod., Hist., IV, 7,2) і осетинське повір’я про куырысдзау
Орієнтальні студії в Україні. До ювілею Л.В. Матвєєвої. – Київ / Oriental Studies in Ukraine. FS L.V. Martveeva. Kyiv., 2010
Г.В. Вертієнко СКІФСЬКЕ ЩОРІЧНЕ ὉΡΤΉ (HEROD., HIST., IV, 7, 2) ТА ОСЕТИНСЬКЕ ПОВІР'Я ПРО КУЫРЫСДЗАУ Попри багаторазові спроби тлумачення, одним із найбільш дискусійних місць у IV книзі "Історій" Геродота залишається опис головного щорічного священнодійства скіфівт.зв. "релігійного свята" (Herod., Hist., IV, 7), яке, за визнанням дослідників, мало максимальну сакральність і було пристосоване до основної часової точки космологічного та господарського циклупереходу від старого до нового року. У нашій статті ми ставимо за мету внести певні корективи до існуючих інтерпретацій та навести нові паралелі до свідоцтв Геродота стосовно цього загадкового свята.
Саопштења / Communications, 2019
The paper under the proposed title presents two preserved painted panels from the collection of the Diocese of Pakrac and Slavonia that have not been adequately scientifically contextualised and that contain heraldic depictions of importance for the study of this aspect of visual presentation in the Serbian art of the early modern period. Their origin and the time when they were created may only be presumed on the basis of indirect evidence. Therefore, the emphasis of the paper is put on their notional and iconographic contextualisation within the scope of the visual culture of the Archbishopric of Karlovci, as well as the key influential spheres of the imperial and the church and political propaganda – both the Habsburg and the Russian ones. At the probably older panel, there is the depiction of a two-headed heraldic eagle known since the representative creations of painter Joakim Marković in the socle of the iconostasis at the church in vil- 103 Александра П. Кучековић МАЧ ДУХОВНИ, ГЛАГОЛ БОЖЈИ: ДВЕ ХЕРАЛДИЧКЕ ПРЕДСТАВЕ ИЗ СЛАВОНИЈЕ Aleksandra P. Kučeković lage Dišnik (1752), but with a central medallion at the chest of the bird in which, like in the case of Russian and Ukrainian models in different media, there is a religious depiction (icon) – Christ saves Peter at sea. Starting from the known circumstances linked to the introduction of the two-headed eagle into the themes of the Orthodox churches in Croatian Military Border, the paper also offers an alternative possibility for the interpretation of the ideological context of its takeover, both in the case of Joakim Marković and in the case of the concrete depiction we are talking about, that is, it will reveal powerful influences of the Russian imperial symbolism adopted through the powerful medium of book illustration. The creation of the famous Ukrainian theologian and preacher Lazar Baranovych Меч Духовний (1666) and its deep impact on the religious culture of the Archbishopric of Karlovci of the 18th century constitute the scope for the interpretation of the artistic and symbolic concept of the second heraldic depiction from the collection of the Diocese of Pakrac and Slavonia – a cartouche with the coat of arms of the Archbishopric in the official version established during the second half of the century with unusual painted symbols of emblematic association and written section of the 17th verse of chapter six of Paul’s Epistle to the Ephesians (“And take the helmet of salvation, and the sword of the Spirit, which is the word of God...”).
Топос Скіфії у середньовічних Origo Gentis = Topos of Scythia in the Medieval Origo gentis
The concept of ‘Scythia as an ancestral homeland’ played an important role in the Medieval Origo gentis. The narratives about the origin of peoples aimed to contribute the construction of new identities in Europe after the Roman empire declined. Iordanes and Isidore of Seville considered Scythia as either starting or passing point of the Gothic migrations. Bede the Venerable and anonymous authors of Lebor Gabála Érenn named Scythia as a homeland of the Picts and Scots, while in the Icelandic Ynglinga saga it was considered as a native land of the Norse gods. It is widely accepted that the medieval intellectuals used the phonetic similarity of the ethnic and geographical terms Scythae/Scythia, Gothi, Scotti, Svíþjoð (Sweden) and Scedenig (Scandinavia) to construct links between the new ethnic and political entities, Classical history and biblical genealogy of peoples. This supposition is undoubtedly correct, however, it tends to oversimplify the conditions of the Early Medieval historiography’s development. The article demonstrates that apart from the Bible, the authors of the Origo gentis had to take into account at least two other important narratives. One of them was a still alive in the 8th century Anglo-Saxon Britain and 13th century Iceland epic tradition, which dealt with the presence of the Goths and other Germanic peoples in the North Pontic area. Greek and Roman geography was another narrative, which medieval authors had to regard. According to Pomponius Mela, Plinius the Elder and other Classical writers, the lands of Scythia, Scandinavia, mythical Hyperborea, Britain and Ireland made up a single region – northern periphery of the inhabited world. Visualization of Scandinavia as an island laying opposite to Scythia, coming from the Greek and Roman geography, explains why the description of Asgard in the Ynglinga saga is to a large extent dependent on the Hyperborea’s depictions in the Classical cosmographies. To sum up, one should not consider the stories about the Scythian origin of some Northern and Western European peoples as a complete fiction for at least two reasons. Firstly, some of the Origo gentis appealed to the folklore tradition, which, in its turn, preserved a reminiscence of the historically and archaeologically attested events (such as the Gothic migration from the Baltic littoral to the North Pontic area). Secondly, from the viewpoint of educated medieval Scandinavians, British and Irishmen, their own homelands were a part of a single region, neighboring Scythia and being closely connected with it.
The article is about the interpretation of the Chaos mythologeme in its interrelation with the artistic aspect of the Snake imagery. The Chaos mythologeme in the epoch of mythopoeic creativity acquires the zoomorphic personification that with the course of time starts functioning as the sign or emblem, still retaining in the considerable extent its semantics of the Chaos symbolism, closely related to the elements such as water, fire, earth, and other natural forces, that have been seen by humans both as the cradle of all existing things, and at the same time – as the threat to the society’s prosperity, considering the unpredictable and destructive character of the natural forces. But even today the images related to the Snake or Dragon symbolism is common in the contemporary culture, proving the deep meaning of the Snake symbol for the human unconscious and its cultural manifestations.
Археологический альманах. – № 21., 2010
The main aim of the paper is interpretation of the harpist’s role on the Sakhnovka golden plate (4th cent. B.C.). Two other Scythian images of the musician are presented. Usually, the researchers analyses the meaning of the plate subject as an integral part of a sacrifice-banquet scene (Artamonov, Bessonova, Klochko), sacred marriage (Raevsky) or victory celebration (Rusyaeva). In this paper the “Scythian harpist” as a part of thanatological myth is presented and discussed. The mythological parallels describing the origin of the fandyr-harp from the Ossetic Epic (Narta) are given as argumentation. Other aspects of this musical instrument in Iranian world are also involved. In contrary, this scene could be connected with general Iranian funeral tradition. Keywords: Sakhnovka plate, harp, Scythian mythology, Narta Epic, thanatological myth.