Старкова Е.Г. Симметрия в орнаментах трипольской культуры // Археологические вести, 2021, Вып. 32. C. 416–432 (original) (raw)
Related papers
E.G. Starkova, Symmetry in ornamentation of the Tripolye culture, 2021
The method of symmetrical analysis (Fig. 1) is first applied to studies of ornamental compositions on the pottery of the Tripolye culture. For the investigations, materials from sites of the late period — settlements of Popudnya, Shipintsy, Kanev group (stage CI), as well as the Vykhvatintsy burial ground (stage СII) (Fig. 2), were used. Variants of the compositions of the borders (linear designs) were analysed, as well as the rosettes (compositions in a circle) (Fig. 3; 4). The border designs were considered separately through their basic structure and the resulting composition, taking in account additional elements (Fig. 5). It has been established that, in the linear compositions, everywhere schemes with vertical and horizontal mirror symmetry predominate, as well as those with the rotation of the motif in 180° — rotation symmetry. Considerably rarer are compositions with a sliding symmetry which in the majority of cases are disturbed by foreign elements. In complexes of stage CI, the percent ration of the types of symmetry of borders is approximately the same. In the border schemes of the final of the late Tripolye СII from Vykhvatintsy, there is an increased number of compositions without a symmetry or with a vertical reflection of the motif. In the rosette designs from Popudnya, Shipintsy and Kanev group of stage СI, cyclic motifs with their rotation around the central point predominate. In Vykhvatintsy, exclusively dihedral schemes are present where the rotational and mirror symmetries are combined. The investigations have shown that the types of symmetry in the ornamentation of the Tripolye pottery changed with the cardinal changes in the culture at the final stage of its development. Symmetrical analysis can be an important addition in the interdisciplinary studies of ceramic complexes and helping not only to reveal the cultural interrelations but also to trace the changes in the composition of the population and social structures at different chronological stages.
Антропоморфные и зооморфные статуэтки, представленные в статье, являются частью большой коллекции материалов трипольской культуры с многослойного городища Немиров, расположенного в бассейне Южного Буга (Винницкая обл., Украина). Коллекцию № 2707 из фондов Государственного Эрмитажа составляют 18 антропоморфных и 13 зооморфных статуэток, разных по стилю и качеству изготовления. Среди них женские и мужские изображения, а также фигурки, пол которых не обозначен или его невозможно определить. Одна из статуэток — сидящая мужская, которая по размерам и стилю близка аналогичной сидящей статуэтке в модели жилища из Попудни. Большинство зооморфных статуэток представляют собой изображения быков-бовинов, два из которых имеют повреждения в области шеи со спины, нанесенные, возможно, в процессе каких-то ритуальных действий. Некоторые из антропоморфных и зооморфных статуэток, судя по качеству лепки и обработки поверхности, были, возможно, изготовлены детьми. Набор глиняной пластики из коллекции Немирова имеет некоторые локальные особенности, характерные для трипольских комплексов региона Буго-Днепровского междуречья и в целом типичен для конца среднего — начала позднего периодов Триполья (этапов BII–CI).
Palaguta I. Elements of “Technical Ornament” and the Problem of the Interpretation of Decorations of Tripolye-Cucuteni Pottery, 2010
'Technical ornament' is a reproduction of relict details of constructions after disappearing of their links with technology and usage of some ware. The studies on 'technical ornaments' plays an important role in archaeological typology. Many "technical" elements also represents in sophisticated designs of Tripolye-Cucuteni culture. Derivations of texture of non-ceramic items ('wattled' designs) were widespread in Tripolye BI - Cucuteni A period as a sequence of influences of sub-carpatian Neolithic (possible Tisza or Petreshti cultures). It reflects the influence of basketry, weaveing and textile production on pottery making. Derivations of handles are also frequent in Tripolye-Cucuteni designs. Handles are commonly transformed to motives included concentric or crossed circles or dots. Some of such derivations named 'face motives'. However, their origins do not link with the 'face of moon-like goddess' but with the transformation of handles and using of its derivations as decorative element. Such way, the studies on 'technical design' disclaim the figurative interpretations of variety of design elements, but give possibilities to retrace the authentic evolution of ornaments. Key words: Tripolye-Cucuteni culture, 'technical decorations', elements and composition of ornaments, 'face'motive of decoration, interpretations of ornaments. В статье рассматривается феномен "технического декора" на керамике — воспроизведения в орнаменте реликтовыл деталей конструкции или текстуры поверхностей некерамических изделий. "Техническое" происхождение имеет и целая серия орнаментов керамики культуры Триполъе-Кукутени. Воспроизведение текстуры и декора плетеных и тканых изделий характерно для орнаментов периода Триполъе В1 - Кукутени А, что связано с влиянием на Триполье культур Тиса и Петрешти. Широко распространено в Триполье-Кукутени и воспроизведение в виде орнамента ручек, утративших свое функциональное назначение, которые обычно трансформируются в мотивы в виде кругов. Исследование развития "технического орнамента " показывает частую несостоятельность фигуративных и "знаковых " его интерпретаций, но, с другой стороны, дает возможности для выявления путей эволюции композиций и элементов декора. Ключевые слова: культура Триполье-Кукутени, "технический орнамент ", элементы и композиция декора, "лицевой " мотив, интерпретация орнамента.
Starkova E.G. Statuettes from the Tripolye settlement of Nemirov (about a special type of anthropomorphic figurines). The paper is devoted to the anthropomorphic statuettes from the Tripolye settlement of Nemirov, which stand out by their size and form. These are fragments of four massive figurines, the height of which could have exceeded 20–25 cm. The lower parts of all the figurines are cylindrical and flat-based. Two of them were hollow: one completely (fig. 3), while the other combined hollow body and solid legs (fig. 4). The two other figurines were entirely solid (figs. 1, 2). Both hollow and solid figurines with a flat base are widely distributed in time and space (fig. 5). They are particularly numerous at the settlements of the Bug area dated to the late middle and early final stages of the Tripolye BII and CI period (second half of the IV millennium BC). As a rule, the statuettes of this type do not form series and are found in single copies. Though the solid and hollow statuettes with a flat base are usually attributed to the same sub-type (sub-type C3 after A.P. Pogozheva), it is evident that they had different functions and should be described and classified separately.
Старкова Е.Г. Статуэтки трипольской культуры из Немирова: новые материалы из старой коллекции
Camera Praehistorica, 2020
Anthropomorphic and zoomorphic figurines presented in the article are the part of a large collection of the Tripolye culture from the multi-layered settlement Nemirov located in the Southern Bug basin (Vinnitsa region, Ukraine). The collection No. 2707 from the funds of the State Hermitage consists of 18 anthropomorphic and 13 zoomorphic figurines, different in style and workmanship. Among them are female and male images, as well as figurines whose gender is not indicated or cannot be determined. One of the gender identified figurines is a seated male, which is similar in size and style to a similar seated figurine in the model of the dwelling from Popudnya. Most zoomorphic figurines are images of bovina-bulls, two of which have damage to the back of the neck, possibly caused by some ritual actions. Judging by the quality of the molding and surface treatment, some of the anthropomorphic and zoomorphic figurines might be made by children. A set of ceramic figurines from the Nemirov collection has some specific features that are characteristic to the Tripolye assemblages of the Bug-Dnieper interfluve and are generally typical from the end of the middle to the beginning of the late Tripolye periods (stages BII–CI).
2020
Данная статья призвана обратить внимание исследователей на возможность выявления групп предметов, сделанных в одной ювелирной мастерской, на основании трасологического анализа. Некоторые типы инструментов (чеканы, пуансоны и т. п.) в ходе использования оставляют идентичные следы от вещи к вещи. Сравнительный анализ такого декора позволяет выделять вещи с идентичными отпечатками и, следовательно, сделанные в одной ювелирной мастерской, возможно, одним мастером. На основании этого способа были сгруппированы предметы, орнаментированные одним инструментом, входящие в состав Брянского, Мощинского и Троицкого кладов. В результате работы было выявлено, что в каждом из обследованных кладов присутствуют вещи (браслеты, венчики, фибулы, привески), орнаментированные в одной ювелирной мастерской. Вещей со следами идентичных чеканов или пуансонов, входящих в состав разных кладов, не зафиксировано.
Palaguta I.V. Problems of studying spiral ornaments of the Tripolye ceramics // Stratum plus. 2, 1999. P. 148-159. The article is devoted to the research of spiral ornaments of the Cucuteni-Tripolye culture. The pointed lines of the ornaments development allow to confirm that ornamental schemes of the Tripolye ceramics develop on the basis of initial composition which consists of snakes' images. Beginning with the Tripolye Bl - Cucuteni A period significant changes occur in the main scheme which gradually loses its initial meaning. Changes in the design technology have taken the important part of it. "Reading" of those ornaments could be hardly done because of the decorating art. Various levels of stylization and repetition, rhythm of the ornamental motives initially open possibilities to interpret the pictures in a rather free way. The typological research of the design is the most perspective as it opens wide possibilities to study relative chronology and local peculiarities of the Cucuteni-Tripolye monuments.