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The Sacred and Magical in the Trypillian
civilization
©Nataliya Burdo
In its article I attempted to brush picture up
of Prehistoric Sacral world and the Magic space of enigmatic Trypillya
civilization. The Reconstructed pictures are not always sufficiently
intelligible, by times even misty, but always majestic. Seemed,
for hundred years about spiritual society life study, which omitted
to us into heritage a Trypillya culture, whatever one can be written.
Only names list learned, which devoted to this theme its labour
brings unanywhere on which respect and horror even to touch it.
Seemed, whether one can be found here something unknown, to say
a new word? That is why by its main aim I put to gather and to systematize
archaeological materials, to do them accessible for further scientific
developments. This labour, however got for time the results outrivaled
most daring expectations.
Application of approaches complex and systematic
study of all without exception artifacts and finds allowed to analyse
them in such scope and combinations, which before were not enabled
in identical studios. This enabled to reproduce a most possible
model, to come in sort around understanding "of Trypillya"
sacral sphere.
On reconstructive stage by major task on elementary
stage stood determination of methodical labour foundations. Being
historiography from study problems of spiritual Trypillya sphere
is by bright reflection ruling in USSR spreaded scientific theories,
in base of which lied brightly expressed economic determinism and
primitive evolutionism, religion role underestimate, as important
factor in the social development
To approach study of asking put into labour after
Trypillya magic, first of all was seen out a reverberation search
of magic organic(regulations) law, laid out in suitable special
books, in precise and analysed by us artifacts and complexes.
Prettily clearly draws unity of Trypillya sacral
space with Mediterranean and sacral space of Old East. In this space
bowed to Big Goddess into different her hypostasis. Her image is
always associated with Moon, Bird and by Cow. This Big Goddess could
adopt offences Goddesses-Birds, Goddesses-Cows, One in two Goddess.
This was Moon Goddess, it with it associated offences snake and
she-bears. Goddess-cow Appearance is, on our thought, by prettily
bright testimony of agrarian civilizations establishing.
By most old sacred image, which resorted to reconstruct,
there is Goddess Bird. It extraordinarily archaic and, that interestingly,
already practically does not fix a milennium posterior to V beginning
to Christ. This image was widespread in Vinca cultures, Krish and
other, that belong to Balkan- Carpathian region. Taking into account
prettily distinct and numerous archaeological data about intensive
contacts and Trypillya intercourses with these regions, this is
by quite appropriate phenomenon.
However in process of time in Trypillya sacral
space takes place union of images of two Goddesses. In Big Goddess
we see Goddess-Cow of traditions Afro-Asian and Indo-European, and
also Prahistoric Goddess-Bird image.
To World Trypillya artifacts resides in anthropomorphism.
Broadly speaking it, possibly, reflects an image of Big Goddess,
which her symbols forward Month and Snake. Among womanish sacral
images exude Woman with baby (Madonna), Goddess-Cortex, Goddess-Matron.
On base of comparative analysis set, that into Trypillya we find
not only artifacts with sufficiently clearly expressed anthropomorphous
lines, but and such, that not quite intelligible and accessible
at first blush. Consequently, by dint of comprasion of the plastic
arts, forms and pottery ornamentic resorted convincingly to lead,
that the numerous handles of Trypillya vessels are by nothing to
other, as anthropomorphous symbol. A Elementary realistic in process
of time conceded schematic image, maintenance of which, possibly
, already was not to sufficiently intelligible peoples, which them
did. This is a bright display of some existed traditions of material
culture in tearing off from their primary sense, which, it is possible,
was forgotten, or half-forgotten.
To Us resorted to express a new sacral image is
offences androgine. This is a divine perfect wight, which is by
embodiment all oppositions.
Masculine image is present, but insufficiently
clearly expressed. It is possible, it is by Goddess-Cortex correlate.
Long prettily the numerous Trypillya artifacts
with bucranies images interpreted, as allegorizing bull. Combination
of bull images and God-Bull womenfolks and Womenfolks-Earth, beginnings
masculine and womanish, Sky and Earth. On our thought these reconstructions
relate to more late times, than Trypillya culture. To Us does not
resort to fix images enumerated above in precise material. The Being
images bucranies in being context somewhat quicker for all symbolize
a bull, as sacrifice. A God-Bull Image found extremely enervated
reverberation into artifact.
In Trypillya ornamental pattern find the numerous
snake images. A snake Image is by exposure of monthly deity. Combination
of snake and Month is by unique image especially Trypillya, developed
namely in this culture. Separately these offences are fixed in mythology,
however their combination can be thought by own Trypillya invention.
Some Trypillya magic artifacts is by straight
accordance to attributes of magic practice, which is described and
explored by anthropologists.. In Trypillya ornaments we find the
replicas of sacral manifestations, which explored in treatise on
religions history Mircha Eliade. Goes about Rising myth, role and
significance of Month, allegorizing living she-bear wights associated
with Month, dog, snakes, shells. Taking into account magic practice
described by anthropologists, there are all of reasons to think,
that animals "processions images ", famous on Trypillya
painted pottery ( in catalogue for us contained such vessel, dug
out by V.Khvoika into Krutoborodintsi-II there are such images on
vessels from Varvarivka -VIII, excavated by V.Markevich ) is not
something else, as by ritual processions, which took place attached
to execution of ceremony offering. Image of dog in Rising stages
on Sky up the endless steps is by image of understanding old to
process gist offering, arriving at immortality in sacral sphere
on the strength of revival after offering. Reminisce interments"
finds "animals, or skulls of them, which reflect a material
side of this ritual.
Resorted to express the definite stages and conformities
to natural laws in forming of Trypillya sacral sphere. On formative
stage (Trypillya A-Precucuteni, Trypillya ²-Cucuteni And, -5400-4400
ÂÑ) prettily perceptible there is influence of sacral cultures images,
which were participial to genesis of investigated cultural complexes.
A Later (begining from ²-²² stage ) Trypillya sacral sphere demonstrates
the parameters of sacral spheres of neighbouring civilizations,
but becomes evident her all-sufficient. A Model, which was, can
consider, as original sacral complex, steady to external influences.
A even population flow from Central Europe (Lengyel-Polgar circle
of cultures ) does not find considerable reverberation, barring
small episode, when in east Trypillya diffusion regions for a some
while (by 4200 4000 ÂÑ) being the magic ceremonies without use of
the plastic arts. Already on ²² stage status- quo was renewed,
and Trypillya magic practice again gives its bright displays.
A sacral complex imagines as whole one for all
Europe, however concrete old societies created own, original, and
at times at all unique magic rituals. A Last circumstance creates
unanywhere which embarrassments attached to wide use of comparative
method attached to study of these the past phenomena.
In base of sacral complex reconstructed by us,
on our thought, underlied revival recreation idea, achievement by
dint of execution of some consecration rituals of highest aim is
immortality of human soul. Sacral activity was directed foremost
on speaking of being world order, in support of fight with Chaos.
By Constituent of this eternal wrestling were actions, directed
on revival and man immortality, which was in this regard to make
even with Gods. This found sufficiently clear reverberation in rituals,
which is fixed on sum precise by us artifacts.
A wrestling Process for immortality and revival
was endless and called for permanent strained activity. In this
industry Trypillya society went towards own by dint of, creating
and developing the rituals original for Eneolithic Europe.
First of all this is a settlements incineration
ritual. We tail to ÕÕ beginning archaeologist Vikentij Khvoika thought,
who interpreted the oddments of Trypillya dwellings, as "houses
of the dead", which were identical to interments for storage
of found stock. Afire sacrificial stowed with pottery, labour implements,
by food and other stock of dwelling burned afire sacrificial, which
kindled attached to transference of settlement elsewhere. A ritual
Purport, on our thought, in given case was in revival of ancestors
souls for eternal life in sacral sphere. This was most grandiose,
and possibly , most majestic from Trypillya rituals, if to take
into account, for example, dimensions settlements-protocities on
in V end on IV beginning of milennium to Christ.
For workloads invested and efforts a given ritual
does not get to building megaliths in synchronous toTrypillya the
FBC (TRB) communities. However it is not so evident, as grandiose
buildings from to stone. Is impressiv a chronological diapason existing
of dwellings incineration ritual over two years thousands, that
can go into weighing with age of world religions.
The offering was the basic magic ritual, the traces
of which sufficiently are clearly fixed in archaeological Trypillya
-Cucuteni culture materials. Exclusive of mentioned higher ""the
great sacrifice" dwellings and settlements there are the traces
of concrete everyday actions for example, finds buried into earth,
sometimes together from some artifacts, bulls skulls, dogs, other
animals. We think, that to category sacrifices trace to bear away
peoples interments expressed on territory of Trypillya settlements,
in that number of children.
Consequently, in Maydanets settlement beside one
of dwellings dug out big pit, in which exclusive of other objects,
found a little ten figurines for bovide and ovide appearances. T.
Moss directs a row of immolation ceremonies examples, directed on
recreation of earth fecundity, directed to breathe into earth in
divine life, to which it potentially has, but to fasten into ground
of spirit, which it impregnates.
Although magic ritual actions do not contain reverberation
of myths, but there is a special form of verbal invocation ceremonies
of mythological disposition (Moss, 2000, ñ.147). An effect of magic
ceremonies breaks down under necessity to bring on other-worldly
forces. Language to called special language, gods language, spirits,
sorcerers. At that everywhere magic uses to language archaisms,
artificial and incomprehensible terms. Contemplate, by trace for
Ò.Ì.Tkachuk, that in Trypillya society a magic language found definited
reverberation in painted pottery, on which to us reached a magic
- sacral pictography. By the way, T. Moss marks, that magic spoke
out on sanscrit language in epoch of India prakrites, on egyptians
language into jews and greeks, on greek to language into Latyns,
on Latin in dark ages. As analogy can be brought over fixed by Ò.Ì.
Tkachuk appeal of Trypillyans to signs of previous epoches, that
quite logical from point of view of magic practice to make use of
archaisms for its language.
In magic definitely are regulated the gestures.
A Magician subordinates to their rhythm, as in dancing. In tie with
this supervision T.Moss interestingly to consider the gestures,
which fixed into Trypillya artifacts, which give a possibility to
draw analogy and with ritual dances.
In magic ceremonies is fixed use for magic two
or three dolls. Namely with such example possibly to balance part
m dualistic Trypillya artifacts, from double binoculars vessels,
pair images, to two wights on vessels. Three object also are combined
into one, this so yclept "trynocles". T. Moss indicates
on that to each society magic has its, unique appearance, which
characterizes by diffusion of definite ceremonies. Each magician
in identical cases makes use of one the same recipe, always the
same bewitching objects. The Magicians frequently have specialization
for that ceremonies, as they practise. The unoccupational magicians
know quite little ceremonies, that's why they repeat them over and
over. Just so a recipe uses carelessly, without any sort maintenance,
becomes quite incomprehensible. Here evidently, that a form attempts
to outbalance maintenance. Accordance in Trypillya artifacts we
see, for example in binocular vessels, which made in Tomashivka
group. They only formal walked on binocular of previous times, do
not have the holes and can not use so, as in "olden times".
Images Widespread on Trypillya pottery of concentric
circles can be considered as magic concentration symbol of sacral
space. Will Foretell, that in Trypillya ornamets concentric circles
consider by naturalists as Solar symbols. If into sacrifice brought
round animal, it in every way possible adorned, in that number and
by ribbons. The It is possible Trypillya zoomorphical statuettes,
adorned by different methods, in that number and ribbons, symbolized
a namely sacrificial animal. The killing Rituals were lustily various.
When instead of animal into sacrifice brought round torment and
bread, them threw into fire. Destroying of sacrifice meant execution
of main act immolation. Sacrifice was devoted, changed its essence,
her death was like the phoenix death: it regenerated in sacral world.
Sacrifice after immolation likened to dead, a soul of which for
hours together abides in other world and for hours together in body
of that, who only died. To get away clear that, that remained from
immolation ceremony, took the desinite ceremonies, the frequently
oddments set before to fire, buried into earth. Even ashes, which
stopped behind after cremation, do not throw where hitted, it hid
in towns specially picked out for this, as were under guard of religious
prohibition. That's why we think, that various artifacts from by
fire traces, ashes, and also that, that originate in pits, one can
be thought by traces an immolation.
Under magic symbols, or signs, we understand not
only signs, picked out T.M.Tkachuk on Trypillya painted pottery
(Òêà÷óê, Ìåëüíèê, 2000), and prettily wide circle images, to which
the signs-icons enter, signs blocks, ornamental compositions, and
also factually be which manifestation of definited images into artifacts.
All of types of cargo magic by with magic-sacral pictography (Òêà÷óê,
Ìåëüíèê, 2000) compose a magic language of Trypillya society. A
Trace also to remind of T.Tkachuk opening, which fixed in Maydanets,
gigantic proto-city by area over 200 hectares, that on big dug out
allotment to each house were inherent its signs-blocks. The simple
signs are observed in each house. This can bear witness to that
the simple signs and methods of their mounting, among which any
amount of semantic markers, were general, and the blocks were created
in each house, or for each house and almost do not repeat in ambient
bilding
Materials, which bear witness to magic ceremonies,
envelop lustily wide circle archaeological artifacts. This is into
first turn the oddments of Trypillya dwellings, scorched in conflagration,
various components cultural to pit layer with ashes, bones, domestic
and sacral objects, and also definited special notes, vessels disintegrations
are fixed outside dwellings boundary paths, "treasure troves
" but "interment" of animals and human on settlements
and in dwellings.
On archaeological material we fix such ceremonies.
- Incineration Ritual of Trypillya houses, possibly
associated from by interment and immolation.
- A Ceremony, attached to which buried under
houses or on settlement, animals, their heads or parts, possibly
associated with immolation ceremony.
- A Ceremony, which was attended with burying
(by interment) under dwellings or on settlement of human skulls,
bone, sometimes burnt, the deceased with stock, possibly is also
associated with immolation.
- Rituals, associated with use of fire, when
into pit, exclusive of ashes get the various things, possibly
immolation oddments. Also one can be supposed, that in some rituals
made use of anthropomorphous, zoomorphous clay figurines, double
vessels. At thet all of these things demonstrate steady safety
of sacraltradition during ages.
Ceremonies, which took from guarding of stable
rituals, also set forward on extent almost one and a half to years
thousand, and a settlements burning ceremony is typical for Trypillya
culture at all, existed two milenniums. This not when speaking about
that the sources of Trypillya ceremonies are found in old mediterranean
civilizations.
T. Moss marks, that the frequently such ceremonies
simplify from multi-repeated reiterations and under time flowing.
Take for possible by namely such circumstances to account for reduction
of phenomenon fixed attached to ceramics analysis of definited lines,
which reproduced the magic symbols. Consequently, if for early and
beginning middle Trypillya typical pear-shaped anthropomorphous
vessels with prettily brightly said anthropomorphous properties,
then on pottery of late stage they little loud, that is why anthropomorphous
lines on them come forward in reduced appearance. That namely takes
place and with bowls on anthropomorphous supports and anthropomorphous
supports, and also vessels with anthropomorphous handles. A phenomenon
This is it is possible to consider as simplification of separate
ceremony elements, in which anthropomorphous pottery used.
Typical there is a list of magic materials and
instruments, bu T.Moss directed.. Among them considerable part into
Trypillya artifacts present. The Bowls -ñåðåä of Trypillya pottery
are as bowl properly, bowls on supports, double and triple bowls
on supports, etc. The Rings are the copper rings lustily thinly,
but meet among finds. The Knives are a flint knife, for example,
found by S.Gusev, on clay platform in Voroshylivka settlement house.
Circles are by some measure to them can answer clay discs, the small
loafs, etc., is found in Trypillya dwellings. Spindles are into
Trypillya sppen-weels, on late stage with incised signs. Dangled
- into Trypillya clanged, at that some from them birds figurines
, and rattle from Luka-Vrublivets'ka little oviform form. Dolls
are various anthropomorphous terracotta, which used in different
rituals. Tables are from that articles of material culture, which
were kept to our days, to them can answer into Trypillya pictograms
on painted pottery. Bone are among Trypillya materials various wares
those present from bone which it is possible to think ritual: amulets,
ornamentirs, adorning from to boar fang, pins from bird bone, bull
fingers phalanges with holes, pendants from fawn teeth, wolf, by
the way, last artifacts appear as far back as paleolith, and their
diffusion does not expire from by Trypillya disappearance. Arrows
are in Trypillya dwellings prettily thinly find arrows, this fact
used by V.Dergachov as one of arguments on self-interest of that
into Trypillya was little to arm (Dergachev, 2000), on our thought,
finds of separate numbers of flint arrowheads in Trypillya houses
in context of all complex filling by various sacral things, bears
witness to their magic sense in given case.
T. Moss underlines, that a costume choice for
magic ceremonies is pronouncedly regulated. About participants costume
of Trypillya ceremonies in sort can be judged on data the plastic
arts and by anthropomorphous image. Head-dress is represented on
several figurines, but still fragmentary. It is possible it reproduced
a still one head on figurine, for stylistically image supposes such
interpretation. In heads of some statuettes there are the cavities
or punctures. It is possible head disk-shaped with punctures on
edges. Trypillya clay figurines reproduce some ritual costume, but
image so stylized, that there is not to purport something probably
to affirm. Separate costume lines anthropomorphous figurines: the
waistcoats, aprons, belts, costume of "Goddess with snakes"
from Cryte reminded. Come into notice the red ribbons, to which
bordered figurines are, painting of separate statuettes into white
colour, painting red on white, for purple ribbons and white clothes
remember t. Moss as ritual signs. T. Moss also brings out still
one variant: the ceremony participants ought were naked. Will Foretell,
that a namely such variant answers pressing majority Trypillya figurines,
nudity of which is specially underlined.
Among various ceremonies types, as picks out t.
Moss we can find accordance to two fining and down immolation. The
clearance Ceremonies frequently materialized by passing over fire,
a namely this factor omits the material traces and they wide-spread
in artifacts Trypillya culture. On first, this is oddments of scorched
houses, on second pits, in which find ashes, are burnt bones, separate
burnt objects, on third finds of burnt man bone or animals in pits
or among houses ruins, sometimes in vessels. A clearance Ceremony
by fire can be by finishing part of immolation ceremony, when take
place actions de-sacralization all, that was a party to ritual.
The Immolations possibly materialized with immediate fire use. To
This ceremony T.Moss devoted special research, to which we will
appeal, that to set to accordance Trypillya artifacts of immolation
act, to fixed in sacral texts and by ethnologists and by T. Moss
thoroughly analysed .
Most brightly an immolation ceremony reflected
into burning of settlements. Attached to archaeological exavations
fixed the details of ritual settlements incineration. Possibly,
from each house darted out an usual domestic utensils and by definitedimage
placed ritual stock, as regulation pottery, which sometimes occupied
almost all workplace space. Fixs grouping of different ceramics
forms, ritual vessels, sacral things. Into Maydanets among ruins
of some dwellings fixed the weaving makes up, which also entered
to ritual to stock. Sometimes under ruins of separate houses find
the vessels with animals bone, among which the human bone the human
bone are, separate human bone, their regulations while not quite
cleared up. Possibly in act of ceremony a house filled in by fuel
by firewoods or reed, etc., and then each house all settlement set
on fire was burnt down afire sacrificial, disappeared, perhaps with
souls of his dead lodgers, to regenerate in sacral world.
T. Moss marks, that that in immolation is by sacrifice
preparation, in magic frequently changes on composing part of ceremony,
for which a magician makes image, in that number from clay, metal,
that provides his gods images or demons, by dolls, that replaced
a magic object, objects being in symbolic right. It produces the
worn on the shoulder bandages, coulombs, talismans and amulets.
To All this we find accordance among Trypillya artifacts. For example,
anthropomorphous amulets of identical form are made from bone, shells,
stone, or copper .
Among Trypillya anthropomorphous figurines, evidently,
there are the different wares grades images of gods or spirits,
which is allotted by defineted features, which are kept on ages
extent; possibly, there are the statuettes, that replaced in magic
ceremonies the magic objects; there is a big grade statuets, which
used in ceremonies as immolation. By Objects, which are in symbolic
right are saturated almost all of Trypillya complexes. One Can be
supposed, that a concentration of that whether other sacral articles
of agglomeration in one dwelling of a little double vessels (binoculars),
or various sacral and votive objects by one group, is associated
with various magic rituals in immolation ceremony.
Possibly, by amulets and talismans one can be
thought the things, which had the holes and could use to coulombs,
or to sew on on clothes. They can have lightly give voice to sacral
offences, as, for example, boned plate in head appearance of bow
with incised image of womans figure in ritual pose from Bilcha-Zolota.
And can be absolutely simplified form as stone pendant from Bernashivka.
T. Moss picks out as special appearance of verbal
invocation ceremonies. Think, that into Trypillya artifacts to this
ceremony answer the various images, all of they, on our look, are
associated from magic conjurations, but heavily comprehend to namely
what was devoted these invocation. By Into first turn certificate
conjurations one can be thought a ornamentation of Trypillya pottery.
A ornamentation Analysis leads, that subjects admission and ornamentical
compositions prettily limited and does not change, accords with
steady tradition. As separate elements to circle pattern, ovals,
rhombs, crosses, spirals, snakes, zoomorphous and anthropomorphous
figures, so and figures, which form the static or dynamic ornamental
endless compositions, swastika, cross, six or octagons is by symbolic
magic signs. Sometimes these signs consist into definite systems
and form the pictograms, which have the sacral magic maintenance
and, on our thought are by invocation ceremony manifestation, which
is directed on evocation of other-worldly forces, are one of methods
to manage these forces.
Part of anthropomorphous vessels, to which we
bear and away double vessels (binoculars), in appearance of human
figures also allows to set a ritual pose and gestures. At that is
observed definite poses accordance and gestures between all of images
types. Most widespread upright straight figures, which meet in anthropomorphous
the plastic arts, among anthropomorphous vessels and painting. Sometimes
they have an object on head, holding it one (painted figures) or
by two hands (bent in elbows painted figures and anthropomorphous
supports.
Meet the images of elevated hands -"Oranta"-
gesture both among statuettes and in anthropomorphous pottery. The
Hands can be laid on breasts or formed on stomach ( to this gesture
on S.M.Bibikov thought answer the figures images in which hands
not modeled), such figures meet as drawn, so and widespread in the
plastic arts. Documented images in painting and among figurines,
when one hand is elevated to head (face), and friend bent in elbow
disposed on waist or beneath to belt. A Special images grade in
definited poses compose the group compositions from two or three
figures. In Trypillya the plastic arts they in clean appearance
are not fixed, but meet in painted variant and among anthropomorphous
vessels. Sometimes painted figures of different size, one above
other.
Anthropomorphous vessels, which reflect figure
equal with combined hands this is the double vessels (binoculars)
where anthropomorphous figures unite besides oneself by bridges,
and also identical form òðèïîäè. Still one type of anthropomorphous
pottery, that reflects a support figures group or bowls pallets,
which form circle from 4 7 figures, which hold bowl, which sometimes
is colander .Fixed cases, for example into Beresti, when the figures
consolidate into circle taking ñÿ for hands by elevated hands bent
in elbows. The Roumanian archaeologists think, that such wares reflect
ritual dance and name by their "Dragomir organ-lofts"
(, 1987, p.287-299). E.A.Korolyova marks, that ritual dance symbolic
reproduces the magic signs circle, parallel bee-lines, labyrinth
(meander), wavy line snake (Queen, 1977, ñ.125-141). All of these
figures are among Trypillya ornamental magic symbolism. She thinks,
that the poses and gestures which reproduce in that number and Trypillya
images, are by elements of ritual dances.
Among Trypillya figurines meet the images of seating
figures womanish, masculine and androgynes. The Hands of womanish
figures can be not modeled, formed on stomach, outspread forward,
or hold child by left breast. Seating men figures and androgynes
(lustily thinly such images are presented by whole informative samples)
with outspread hands, or hands not modeled.
T. Moss set, that magic supposes an images combination,
without what impossibly to imagine a magic ceremony, which is by
images conglomerate: magician, ceremony, aim. an images (or signs)
combination Idea is brightly reflected in Trypillya materials, which
adapted in magic ceremonies. In terracotta images will team womenfolks
offences and cow (bowide), womenfolks and serpents, it is possible
womenfolks and birds. In anthropomorphous pottery are combined man
offences and bovide, man (womenfolks) and serpents. On Trypillya
vessels team up with cosmic, by moon symbols zoomorphous³ and anthropomorphous
offences. Ò.Ì.Òêà÷óê installs blocking conformities to natural laws
of simple signs, one of which there is combination of symbols, and
accordingly and images.
Proceeding from magic laws, by T.Moss explored,
one can be interpreted the Trypillya symbolic images. By Magic regulation
"part equal to whole" account for anthropomorphous symbols
of Trypillya pottery, and also combined symbols. Consequently, in
ordered to hand down anthropomorphous image, not obligatorily will
model a vessel in man figure form, sufficiently will place on it
anthropomorphous symbol small conic handle, formed conic model with
horizontal whether vertical puncture. That such handles are by anthropomorphous
symbols, bear out identical stick on stomaches and knees womanish
figurines. For recreation of Oranta image sufficiently will border
a vessel by two stylized handles-appearances. Protuberant appearances
pass on womanish image. Anthropomorphous offences can be voice to
hands, by relief stylized figures, which already almost and do not
remind of form human body, or simply by appearances on crowns edge.
Zoomorphous offences reproduce on vessels by four legs, heads, sometimes
bukranies, or by simply small appearances in that tracks, where
is must be a tail and head.
To Accordingly magic sameness law, an image turns
into symbol, at that for formation to symbol used only one of many
typical for to article of properties. That's why interpretation
of ornamental pattern in festoons appearance as clouds, thin lines
as rain, lens-like ovals as corn, ornament as reflections of Big
goddess, sky Mistresses and the liked can not perceive even as a
hypothesis.
A Magic antithesis law supposes operating by oppositions.
Possibly, by manifestation of this law can be thought a negatively-positive
ornamental system, which frequently incident to Trypillya patterns.
Such as whole draws a concrete "picture of
Trypillya magic", reflected in found artifacts.
Not looking at distinctions in material culture,
well loud on archaeological material, sacral Trypillya (Trypillya
Cucuteni) culture space was one from Carpathian Mountains to Dnipro.
Beginnings of complicated of social structures, chiefdoms and proto-cities
at the some chronological stage does not prang this unity. As and
to that prevail snake images and month,, personifications of womanish
Cortex goddesses, Big Cow Goddess. Only in Late-Trypillya cultural
groups (some naturalists accept their as separate cultures) fixed
new for Trypillya offences. Goes about womenfolks image, which seats
tilted forward, which the famous Usatovo - type statuettes reproduce
of type. This image, as it seems to us, has originating in Vinca
culture and associated with funerary ritual, not inherent for Trypillya
.
A prototypes circle Analysis and analogies magic
artifacts, symbols, rituals, which accord with Trypillya culture,
allowed to do the interesting supervisions. To begin with, the basic
sacral³ ideas and Trypillya offences have the sources in most old
european neolith, represented by Greec territory cultures, Karamovo
²-²²², Keresh, elder linearly-ñòð³÷êîâî¿ ceramics. Vinca Cultures,
Karanovo V and VI, Gumelnitsa, Lengyel and Trypillya have any amount
of joint lines in sacral sphere, possibly their magic and ritual
practice and sacral offences behaved to one sacral tradition. Forming
Trypillya sacral traditions took place on Trypillya À-² stages,
namely for this while falls down most part of analogies for Trypillya
artifacts. A New stage in History of Trypillya culture is associated
with transition to Trypillya ²-²² stage, and specially B²².
Begining from this period Trypillya society comes
forward as a system from original sacral complex, magic practice
without no longer suffers influences and innovations. Intensity
in a intercultural contacts Trypillya on ²-²²-Ѳ² stages, fixed
for other culture aspects, does not touch a sphere of sacral images
and ceremonies. Foreighn population which got in some Trypillya
local groups, at first not entirely all the sacral Trypillya traditions
perceived.
This nicely visibly on example housing Ticks and
Bug-Dnister type of Eastern Trypillya of culture. Into Klischiv
S.Ryzhow set many components population storage from four Trypillya
local groups, also by fifth component of population with Lengyel
traditions was. Interestingly, that S.Ryzhow set, that a ceramics
with definited peculiarities distributed into Klischiv between separate
by dwellings groups, that indicates on some autonomy population
groups with different sacral traditions.
Into Klischiv in ceremonies almost does not use
a traditional Trypillya terracotta, at that some dwellings are saturated
by double anthropomorphous vessels (by binoculars). A ceremonies
Tradition without figurines, possibly by Klischiv lodgers group,
which made in way of life use of pottery without decoration, to
inherent Lengyel culture and from by deep-laid pattern, the sources
of which were into early Trypillya, hands population down of country
between Sout Bug and Dnipro, where also almost there is not anthropomorphous
the plastic arts, but any amount of binoculars, that marks O.Tsvek
for Shkarivka dwellings.
A Territorial group of Trypillya culture in Dnipro
restored tradition of figurines application in ceremonies, makes
use of double anthropomorphous vessels, holds on traditions of Trypillya
A (!) into made sacral pottery, in ritual and domestic pottery clearly
the done over again Lengyel lines trace.
Trypillya population into which prevailed a tradition
of painted pottery creates a lustily developed sacral magic language
denotation system. In ñàêðàëüíèõ offences and ceremonies, founded
on traditions of joint sacral space of the Early Eneolithic, traces
a steady tradition without any borrowing to the åíåîë³òó last and
bronze day beginning.
At that, as shown above, some sacral elements
together with Trypillya culture outlived the cultures, from which
they were adopted by Trypillya. By ÑII stage beginning we have large
cultural differentiation of Trypillya community, which does not
reflect in sacral sphere, it remained one for majority of the Late-Trypillya
groups, except Usatove and Sofiyivka.
Into this period practically all of continental
cultures lose considerable part of achievements of previous times
in external legalization of sacralsphere become poor or disappeared
the plastic arts, degrades a decor of ceramic wares. However pawned
into Neolithic and Eneolithic periods on different magic base continent
cultures composed a base of joint European tradition in this sphere
In final part I stopped for Magics and Trypillya
-Cucuteni culture population Religions. Namely in such combination
these notions existed into distant times. Magic in Trypillya people
hands was used for sacral Forces management. With them old associated
and attempted by them to govern, taking the definited rituals with
use of file magic artifacts. Last famous to us due to archaeological
excavations.
In many aspects the results of our research bear
out basic to Ò.Òêà÷óêà deduction about existence in Trypillya culture
of sacral-magic pictography, by bright expression of which is is
painted a pottery. Establishment of his context with other categories
artifacts to let into future more brim-full to reconstruct sacral
Trypillya sphere and different aspects of ritually-magic practice.
Our labour on once was limited by Ukraine territory,
in that time, as archaeological Trypillya - Cucuteni complexes,
extraordinarily interesting important artifacts saturated widely
explored in Moldova and Romania. Our labour in Kishiniv museums
inspired on idea of international project on study of spiritual
world of this old civilization. A Comparative analysis Trypillya
artifacts bears witness also to their wide european context, further
inquiring into which also is prettily interesting. In result execution
of its project I came to realization of that essential displacement
in study of spiritual world of old Europe civilizations necessary
international archaeologists efforts and other naturalists such
work hardly whether on force to separate specialists.
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