К вопросу об изображении животных на александрийских геммах греко-римского Египта / The images of animals on Alexandrian gems of Greco-Roman Egypt. (original) (raw)
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К вопросу о стилизованных изображениях грифона (по материалам Алтая и прилегающих территорий Китая)
Практически во всех скотоводческих культурах скифского облика, распространен- ных в VI–III вв. до н. э. в степях Евразии от Дуная и до Китая, широко бытовали изображе- ния фантастического существа – грифона (грифа) или мифического орла, определяемого исследователями как «символ воинской доблести», «божество», «дух загробного мира». Своеобразие этого образа, имеющего прямые аналогии в культурах земледельческих госу- дарств Греции, Передней и Центральной Азии, всегда привлекало археологов, историков и искусствоведов. Только в России вопрос о грифонах (грифах) затрагивался в сотнях публи- каций. Грифоны (грифы) из пазырыкской культуры VI–III вв. до н.э. подробно рассматри- вались в работах С.И. Руденко, М.П. Грязнова, Л.Л. Барковой, В.Д. Кубарева, Н.В. Полось- мак, Л.С. Марсадолова и других исследователей (см. прилагаемый библиографический список). Однако до сих пор так и не сложилось общепринятой классификации изображе- ний этих существ, сохраняется разнобой в терминологии, нет единого взгляда на их семан- тику, не решен вопрос о времени появления этого образа на Алтае и его эволюции.
Дробышев Ю.И. Семантика изображения птиц на древнетюркских изваяниях
Народы и религии Евразии, 2023
The article systematizes and analyzes information about all the currently known finds of Old Turkic stone sculptures with the image of a bird, as well as the interpretations of researchers regard-ing the semantics of this image. Taking into account the extreme rarity of sculptures with a bird and attracting relevant ethnographic materials, the author comes to the assumption that in this case the bird does not symbolize the departing soul, as is usually thought, but the guide of the soul of the deceased. There is a hypothesis that such monuments were erected in honor of people who became famous during their lifetime as hunters with a bird of prey, since all the images of birds on Old Tur-kic statues are very similar to winged predators. The special, one might say mystical relationship that developed between the hunter and his bird suggests that it "accompanied" the soul of its owner to the Upper World, protecting it from various dangers of this journey. Since most of the bird sculp-tures discovered so far are localized in the Semirechye, in the contact zone of the nomadic Turkic and settled Sogdian worlds, it can be assumed that they were awarded to assimilated Sogdians ra-ther than Turks, otherwise they would have been much more numerous. The idea of a guide bird probably dates back to fravash of the Zoroastrian religion, which, it was believed, helped the soul of the deceased to get to heaven.
Hidden (?) vs. realistic images of animals in the light of the culture of Islam. Ganch decor of the IX-XII centuries in central Asia // Islamovedenie, 2019, No.3 (41), vol.10, pp.41-52, 2019
В статье автор обращается к известной антитезе: явные-скрытые зооморфные изображения в архитектуре Средней Азии периода раннего ислама. В отечественном искусствознании долгие годы считалось, что последние намеренно замаскированы в растительном орнаменте с целью преодоления запрета в исламе на изображение живых существ. Исследование проведено на материале резного ганча (стука) как наиболее репрезентативного материала, содержащего ценную информацию об архитектурной орнаментике раннего ислама. Расцвет этой техники в Средней Азии приходится на IX-XII вв. (чем объясняется выбор хронологических рамок исследования). В работе классифицируются «скрытые» зооморфизмы, описываются существовавшие в то же время реалистические фигуративные изображения, анализируются мнения средневековых богословов об особенностях канонического запрета. Автор предлагает проследить пути стилизаций от реалистичных растительных форм до предельно абстрактных, когда мотив впоследствии ошибочно интерпретировался как «скрытый зооморфизм» An author refers to a well-known antithesis: explicit-hidden zoomorphic images in the architecture of Central Asia during the early Islamic period. The study was conducted on the material of carved ganch (stucco) as the most representative material containing valuable information about the architectural ornamentation of early Islam. The heyday of this technique in Central Asia falls on the IX-XII centuries. (what explains the choice of the chronological framework of the study). The paper classifies "hidden" zoomorphisms, describes realistic figurative images that existed at the same time, and analyzes the opinions of medieval theologians about the features of canonical prohibition. The author suggests tracing the path of stylizations from realistic plant forms to extremely abstract ones, when the motif was later mistakenly interpreted as"hidden zoomorphism".
UNIQUE ANIMAL IMAGES ON POTTERY TOOLS OF LATE BRONZE AGE The paper is aimed at publication of two unique late Bronze Age bone objects. These tools for surface treatment of vessels were found on Ilyichevka and Chernikovo Ozero-1 settlements (the middle-stream reach of the Severski Donets river). There are two images of birds one turned over another incised on the object from Ilyichevka. It is significant that one image is made by the bronze tool whereas another – by the flint one. On the face side of the object from Chernikovo Ozero-1 settlement a syncretic animal which combines a front part of a hare and a back part of a fish is represented. On the underside of this object the sign which consists of three parts is represented. An interpretation of the images is based on various mythological analogies as well as on functionality of the tools on which they are presented. The images of birds probably corresponded with the idea of human soul and were involved in a number of semantic oppositions based on the concepts of the “living world” and the “dead world”. It is possible to compare the image of a syncretic creature with the image of a girl-werewolf mentioned in Ossetian legends “Narty”. This girl was a river king’s daughter and lived underwater, and she used to appear overland as a hare; she became a mother of the main nartian character Batraz who is compared by researchers with an image of Scythian god Ares. The image of a three-part figure is probably a female sign. Thus all images correlate with mythological comprehension of a man’s birth. The objects on which they were applied were tools for making vessels which usually had anthropomorphic forms in archaic cultures. If the two processes, i.e. creation of a vessel and formation of a man were compared, then the stage of vessels surface treatment by bone tools could be compared to endowing a man with a soul. In this case incising of an ornament on a vessel is comparable with the steps of personalizing a man, i.e. when he/she is endowed with the name and destiny.