Sacral graffiti on ceramics from the early Phanagoria (original) (raw)
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Archaeology and Early History of Ukraine, 3 (28), 2018
Regular archaeological research at the eastern coast of the modern Berezan Island (excavation area «O» — «Osnovnyi» («the main»)) in the 1960s — 1980s were headed by V. V. Lapin. They resulted in accumulation of numerous and various materials for the further study of history and culture of Borysthenes at all the stages of its life. For instance, 619 graffiti were recorded during the period of excavations. It should be emphasized that none of excavation areas at Berezan have not presented such a large number of graffiti. 203 graffiti were published already after V. V. Lapin died, and half of them are sacral ones. Only dedicative and marking graffiti are briefly discussed in this paper. In addition, disputable opinions of V. V. Lapin about certain inscriptions and graphic symbols on ostraca are also elucidated, which he interpreted as relics of the surviving writing language leading its roots in the Crete-Mycenaean epoch. The scholars never even mentioned graffiti from his excavations in the context of corresponding cultic structures. Considering this fact, attention is paid primarily to the early dedications to Apollo Ietros and Delphinios evidencing this god’s sanctuary in the 6th century BC. As it is known, the most significant structure discovered by V. V. Lapin is undoubtedly an original 5th century BC temple with apses. Nevertheless, various interpretations of this structure occurred in recent literature out of the context of corresponding sources. However, different variants of sacral graffiti with Achilles’ name dated by this period obtain an exclusive significance in this aspect. They are synchronous dedications to Achilles, as well as numerous cultic findings, which can confirm first of all its cultic significance and possible relation to this divinized hero. Other gods with close soteric functions related to the sea, namely, Aphrodite and Dioscuri, were apparently worshipped together with him or near him. In general, the authors show the perspectiveness of not only the further scientifically grounded and objective study of the whole collection of inscriptions in the context of building remains of sanctuaries and a temple with apses, but also the monographic publication of all the materials excavated by V. V. Lapin at the eastern coast of the Berezan Island.
CERAMIC FRAGMENTS WITH CHRISTIAN GRAFFITI FROM MEDIAEVAL BURIALS IN THE CRIMEA
Fragmenty keramiki s khristianskimi graffiti iz srednevekovykh pogrebenii Kryma [Ceramic Fragments with Christian Graffiti from Mediaeval Burials in the Crimea]. Antichnaya drevnost’ i srednie veka, 49, 193–218, 2021
The thirteenth and fourteenth century Christian burials in the the south-western Crimea and Sudak contained the fragments of wheel-made vessels and building ceramic ware showing the graffiti drawn on baked clay in the form of a simple cross (type 1), a cross with two-line formula “IC XC NIKA” (type 2) inscribed between the arms, or the formula “IC XC NIKA” written in one line (type 3). These graffiti were applied to ceramic shards specifically for burials; the finds of this kind are not known in cultural layers of the settlements. The graffiti of type 1 replaced underwear crosses worn during the human’s life and served as apotropaic amulets for the dead. In the graves, they were placed under the lower jaw, at the neck or head of the deceased person. The formula “IC XC NIKA” is a partially abbreviated form of the Greek “Ἰησοῦς Χριστòς νίκα” (“Jesus Christ, conquer”) or “ Ἰησοῦς Χριστòς νίκᾷ” (“Jesus Christ conquers”). It is accepted that this formula first appeared in 720 on the coins of Leo III and his son Constantine IV and proclaimed the victory of the Byzantines over the Arabs under the protection of Christ and His Cross. Later on, imperial connotations of triumph and victory gave way to a more modest prayer for help and protection from the forces of evil. In the Crimea, the formula “IC XC NIKA” occurred from the late eighth century in building inscriptions, on architectural details, tombstones, and individual worship objects. From the thirteenth century on, the formula “IC XC NIKA” combined with a cross or independently appeared in burials: on slabs placed vertically at the eastern end of the grave so that the face of the deceased was turned to the image, or on ceramic shards that covered the mouth or neck of the deceased. The artefacts featuring this image were placed mainly in the burials of untimely departed persons: children, teenagers, or those who suffered from serious illnesses during their lifetime. The rite of placing ceramic fragments with Christian graffiti into burials for protection and scaring away evil spirits is documented in the Crimea in the thirteenth and fourteenth centuries, though in Byzantium it appeared from the tenth century on.
BYZANTINE SGRAFFITO CERAMICS WITH MONOGRAMS OF THE PALAIOLOGOI
Bulgarian e-Journal of Archaeology, Supplementum 6: Filov Readings. Cultural-Historical Heritage Research, 2018
Among the Late Byzantine sgraffito ceramics with monograms that are found across Bulgaria but also in a broader area, particular interest provoke the vessels with monograms of the Palaiologoi, which are engraved underglaze and occupy central place in the decoration scheme. The already proposed suggestions that the signs of the Byzantine ruling dynasty indicate ownership or represent marks of imperial pottery workshops have not been confirmed by the available data. The aforementioned bowls and cups most probably were products of trade, delivered by the Venetian and Genoese sailors, аnd the monograms have played a similar role as the names of different saints, that decorate samples of the same sgraffito pottery category (Elaborate Incised Ware) – to secure the blessing of the meal and to invoke divine protection.
НЕПОЗНАТИЯТ ХРАМ "Св. София". Част I: Надписи-графити на кирилица и глаголица // второ, допълнено и преработено издание, 2019
This is the second edition of “The Unknown Temple of Hagia Sophia. Part I: Cyrillic and Glagolitic Graffiti Inscriptions”, First edition 2016. The main task of this second, enlarged and revised edition of my book is to present 94 Cyrillic and 1 Glagolitic inscriptions (85+1 in the first), which have been scratched in the galleries of the Church of "Hagia Sophia" at Constantinople. The vast majority of graffiti are concentrated in the second-story aisles or galleries. The goal here is to present full catalogue of Cyrillic and Glagolitic graffiti-inscriptions for students and trained epigraphers. Each inscription is represented first with drawing, next in a form that approximates the appearance of the lettering on the original object, and then in an edited version with translation that will be more familiar and accessible to readers. The book provides a clear analysis and attribution of each inscription. The latter is followed by a brief commentary that elucidates cultural and historical matters germane to the interpretation of the text, then draws attention to noteworthy features of language (palaeography and orthography), and orients the reader to the context of the message being conveyed. At the back of the book, there is a comprehensive vocabulary that glosses every word used in the inscriptions, along with notes that explain grammar. The book also provides palaeographic plates and schema with the exact location of the graffiti, as well as an extended English Summary.
VITA ANTIQUA, 2018
From four types of the Neolithic ceramics that were determined for the Dnieper-Donetsk culture region, only the fourth type after D.Y. Telegin typology has been found in the Lysa Gora cemetery. This type is represented by biconical vessels with the flat bottom and straight «collar» rim. Inside of this type, we are able to identify subtypes by their size, type and ornament disposition on the body of a vessel. The vessels with the flat bottom, straight vertical walls and cut to the middle rim are most common. In the second period biconical vessels with the big flat “collar”rim became more popular. The plot of the composition and ornaments that decorated the body of the vessel in the first and second period also was changed. The ornament in the first period is the imprints of the comb punches forming the horizontal rows, the fir-tree, the zigzag, the ribbons, limited by the scratched lines, the comb marks. The ornament in the first period is the imprints of the comb punches forming the horizontal rows, the fir-tree, the zigzag, the ribbons, limited by the scratched lines, the comb marks. In the second period – the ornament of the triangular stroked decoration and the shaded horizontal lines, which form plots: geometric compositions, fir trees, nets, extends. A linear ornament consists of cut, screwed or flattened lines. Often, it is a straight line, in some cases there are curvilinear compositions, sometimes wavy ornament. In different periods of culture, there are certain differences in the motifs of patterns, the ways of their placement, the degree of coverage of the ornament of the surface of vessels. In the first period of culture, the pattern on vessels did not adhere to a clear horizontal zonation. Pots of the second period are ornamented from the rim to bottom. Sometimes the pattern enters the inside of the neck and rim of the vessel, as well as the bottom. The style of geometric rectilinear ornament prevails, which most often includes horizontal rows and stripes. Rows consist of impressions of the comb, the triangular short stroked decoration. Impressions of the comb, the triangular short stroked decoration in individual rows have a slope to the right or to the left, resulting in a pattern having a kind of fir tree.Less often, the ornamental field consisted of several horizontal stripes, separated by the triangular stroked decoration of the necks or flattened lines. The entire strip is covered with lines from the stroked decoration or impressions of the comb. Sometimes the entire strip filled with “broken” rows, which in general creates a motive of short vertical columns. However, curvilinear pattern of ornament did not common for this period. The feature of ceramics is its ornamented bottom. Patterns consist of concentric circles, elongated-oval circles, radial lines. At the end of the second – at the beginning of the third period of the Dnieper-Donetsk culture region a tendency is to create a pattern with a predominance of vertical or oblique columns and stripes, more often there is a pattern of ornament in the form of individual figures (triangles, lozenges, which sparsely cover the surface of the vessel). The development and change of the disposition of ornament on ceramics is one of the keys to understand socio-cultural connections on the territory of the Dnieper-Donetsk cultural region.
Vinogradov A., Chkhaidze V. A Christian Inscription from Phanagoria
The authors publish a new Christian inscription from Phanagoria (the second Christianinscription found at the site). In spite of its form («Lord, help Theodotos»), it is very probably atomb inscription. Its general pattern and paleographic characteristics are close to later Bosporanmonuments of the 4th and 5th centuries. The inscription provides a new material for the historyof Phanagoria and for the history of Christianity on the Taman Peninsula in general.
Gothic Inscriptions from the Basilica at Mangup
Материалы по археологии, истории и этнографии Таврии, 2023
Аннотация. В статье подтверждается наличие готских граффити на фрагментах карниза из Мангупской базилики, найденных М. А. Тихановой в 1938 г. и впоследствии в 2010-е гг. исследованных А. Ю. Виноградовым и М. И. Коробовым. Анализ надписей позволяет в целом согласиться с их прочтением, но и остановиться на некоторых спорных моментах. Сравнение показывает отличия графических форм первой многострочной надписи от трех других.
Symbolic and a real on the engravings of Francisak Skaryna
У Бібліі Рускай (1517–1519) Францішак Скарына ставіць мэтай давесці да чытача сутнасць БОЖЕСТВЕНОЙ И ЖИТЕЙСКОЙ МУДРОСТИ. Каб вырашыць пастаўленую задачу ў рэлігійнай кнізе, Скарына шырока карыстаецца рэбусамі і сімваламі, якія бліскуча знітаваны лагічнымі схемамі з жыццёвымі сюжэтамі фонавых малюнкаў буквіц, а таксама жанравых гравюраў – свецкімі па зместу і біблейскімі па назве. Творы кніжнай графікі Скарыны падзелены на чатыры катэгорыі: простыя, адмысловыя, спатменныя, анагагічныя. Апісаны спосабы прачытання рэбусаў і сімвалаў, якімі карысталіся мастакі эпохі Адраджэння. Выяўлены новыя старонкі біяграфіі не толькі Францішка Скарыны, але і Яна Севярына – гравёра, выдаўца і ўладальніка самай вялікай друкарні Прагі. Выказваецца думка, што ў 1514 г. Ян Севярын і Францішак Скарына падрыхтавалі тытульны ліст да выдання «Пяцікніжжа», напісанага на іўрыце. Даследуецца ўздзеянне на філасофію і літаратурна-мастацкую творчасць Скарыны паэта- філосафа Аліг’еры Дантэ, мастака Сандра Бацічэлі і знакамітага майстра гравюры Альбрэхта Дзюрэра. Кніга адрасуецца навуковым супрацоўнікам – даследчыкам спадчыны Скарыны, філосафам, гісторыкам, мастакам, студэнтам і ўсім, хто цікавіцца духоўнай культурай Беларусі. At Bible Ruska (1517–1519) Francisak Skaryna aims to bring to a reader the essence of divine and worldly wisdom. To solve such problem in a religious book, Skaryna extensive uses of puzzles and symbols brilliantly connected with the logic of life stories of background image for capital letters, as well as with the logic of life stories of genre engravings – secular in content and Biblical by name. Skaryna’s book graphics is divided into four categories: ordinary, special, high-cognitive, anagogic. It is described how to read riddles and symbols used by artists of the Renaissance. It is revealed new pages of biography not only Francisak Skaryna, but Jan Severin – engraver, publisher and owner of the biggest printing house in Prague. It is suggested that in 1514, Jan Severin and Francisak Skaryna prepared title sheet for «Pentateuch», written in Hebrew. It is investigated the impact of poet- philosopher Dante Alighieri, artist Sandro Botticelli, and a famous master engravings Albrecht Durer on Skaryna’s philosophy, literary and artistic creativity. This book is addressed to the researchers of Skaryna’s heritage, to philosophers, historians, artists, students and to all those interested in the spiritual culture of Belarus.
Dedicatory graffiti from the excavations of the Southern temenos in Olbia undoubtedly testify to the existence in the area not only of an Aphrodite’s temenos but also a local hero Angelos’ sanctuary synchronous with the earliest inscriptions. Unlike the previous evidence for the Aphrodite’s cult in Olbia, all disparate and dating back to different periods, the Southern 40 temenos has for the time provided rather a large number of materials about that cult. In spite of the graffiti’s fragmentary character it was possible to divide them into groups and to analyze some of them. Their paleography is basically in agreement with the sherds’ relative dating. The majority of the graffiti belongs to the early Aphrodite’s sanctuary. One of the graffiti is especially worth mentioning; it is (Ἀφροδίτ)ης Δημίης “(that) of People’s Aphrodite” similar to Aphrodite Pandemos (“All People’s Aphrodite”) well known in the Hellenistic world. Given very close links between Olbia and Athens it is tentatively suggested that Ἀγγελος ἥρως might have been the olbiopolite owing to whose wisdom not only some Boristhene inhabitants but also those of near-Olbia areas were relocated to Olbia for further strengthening the city-polis and its civil community. The sources enable us to assume that the pre-Gaetic town had two Aphrodite’s sanctuaries, Ourania in the Western and Pandemos in the Southern temenos.
EGYPT AND NEIGHBOURING COUNTRIES , 2020
The sculptural decoration of the frieze of the heroon in Sagalassos dated to the reign of Augustus, is a representation of circle dance of 15 girls holding the mantle. Despite the monument being known since the19th century, there are no studies devoted to interpretation of its sculptural decoration. This work aims to attempt to understand the semantics of the figurative frieze and determine its place in the art of the early Empire. Iconographic analysis of the figures resulted in identifying some analogies with local Hellenistic monuments and linking the composition with local rituals (probably dionysiac). Interpretation of striking elements (for example, the mantle) of the frieze allowed the author revealing some features of the cult of Dionysus specific for the time of Augustus. The artists managed to show different aspects of the cult, combining several iconographies in one sculptural decoration and maintaining the integrality of the composition at the same time.