Статусные предметы из склепа III–II вв. до н. э. «Каменная могила» (южные окрестности г. Железноводска)

Introduction. Swords with a crescent-shaped top in Maeotian burials are meet less often than swords of the Sindic-Maeotian type from the 4th – early 3rd centuries BC. Methods and materials. The authors use the traditional typological method. The material comes from Maeotian sites. Analysis. There are three forms of crescent-shaped tops: classical crescent-shaped, V-shaped and half-ring top. In the sites of the right bank of the Kuban 10 swords without a cross-guard and 1 with a cross-guard, in the Trans-Kuban – 8 swords without a crossguard and 2 swords with a cross-guard are known. The presence or absence of a cross-guard does not affect type chronology. The assemblages from burial grounds of IV Novolabinsk and Elisavetinskaya No. 1 hillforts date from the second quarter to the middle of the 3rd century BC. The dating is based on the type of the bronze mirror and Panticapaeum coins. Most narrowly dated burials come from burial grounds of Starokorsunskaya No. 2 and Lenin No. 3 hillforts located on the right bank of the Kuban river. The burials dating to within one quarter of the 2nd century BC typically contained amphorae and black-glazed pottery, as well as certain types of Maeotian grey-clay vessels. Results. The chronological analysis indicates the appearance of swords with a crescent-shaped top of the Prokhorov type among Maeotian tribes under the influence of the Sarmatians. The earliest assemblages date from the second quarter to the middle of the 3rd century BC. The chronology of more than a half of the burials does not go beyond the 2nd century BC. The upper limit of the existence of swords with a crescent-shaped top can be determined within the early 1st century BC.

The paper concerns with chronological analysis of Early Sarmatian military burials with two swords in the Lower Volga region dated to the last centuries BC. There are two combinations of the different bladed weapons in the burials: swords with a ring pommel and daggers with a crescent-shaped pommel; swords without metal pommel with the rhomboid cross-bar and daggers with a crescent-shaped pommel. Swords and daggers with a crescent-shaped pommel are absent in the burials after the turn of AD. Swords and daggers with ring pommel or rhomboid-shaped cross-bar have appeared during the new migration wave in the Lower Volga region not earlier than in the 2nd century BC. This determines the chronological framework of the assemblages. Daggers and swords with a crescent-shaped pommel are the local product, they were used much earlier than the swords of migratory origin. The authors suggest that the emergence of innovations is associated with the migration of the 2nd—1st centuries BC from Central Asia, because in addition to swords with ring pommel and bronze cross-bar without metal pommel, there were found bronze openwork and lattice buckles, jet buckles and cubic incense burners, well known in the East.
 The burials with Northern direction and wooden decks have the analogies in Tuvan antiquities of the Xiungnu-Sarmatian time. At the same time in ancient sources there is a list of tribes among which Aorsi and Top Aorsi on the Don and in the Volga region, Rhoxolani in the Northern Pontic region and Siraci in the Kuban region are mentioned. Although all this area was called Sarmatia, the name Sarmatians is not included in this list. The authors believe that the new tribes replaced the Sarmatians but in Greek literary tradition the territory retained its old familiar name. In addition to swords and daggers with the crescent-shaped pommel, other items known as early as the 4th—3rd centuries BC continue to occur in the burials, and the burial rite continues to preserve the custom of southern direction of the buried and the practice of placing the burial in a circle or in a row under the mound. All this is the evidence of the unique symbiosis of two cultural traditions: the previous local and newcomer Central Asian.

The article is devoted to the semantic and chronological analysis of the images on the plate of white tuff discovered in the city of Stavropol. The central part of the relief is occupied with the image of table - an altar with hoisted bull head (in the background) and the hanging part of bull skin (in the foreground). Between the protruding edges of the hanging skin and lower to the ground (between the legs of the altar) an ancient Greek phrase carved in three lines. The composition is completed by flanking images of two figures in long robes depicted in profile, symmetrically turned to the head of the bull. The figure at the right is an image of a man with a long beard, the lower edge of which is bent forward (priest or king). The figure at the left is a female (queen). Both the man and the woman are holding ritual vessels in hands. The plot of bull sacrifice is typical for the cultural traditions of ancient Greece as well as for ancient eastern states. The fact of combining images and inscriptions peculiar of the Hellenistic culture and ancient Iranian mythology on the Stavropol altar should be associated with the religious policy pursued by the Pontic kings since the second half of the 3rd century BC till the Common Era. This policy was focused on the gradual replacement of local cults by Greek ones in the official pantheon. The reasons for the Asia Minor altar existence in the Stavropol Upland include: 1) the military expeditions of the Sarmatians to Asia Minor in 2nd - 1st centuries BC; 2) the establishment of political and economic ties by the North Caucasus population with the state of Seleucids in the 2nd century BC, with Parthia in the 2nd - 1st centuries BC, and especially with the kingdom of Pontus in the 1st century BC.

The bouleuterion housed the boule or council of a Greek polis in the form of a roofed meeting space. Most, if not all, cities had one; the remains of more than fifty buildings are extant. Although there were also bouleuteria in large sanctuaries and federal capitals, the major examples are urban. Bouleuteria were almost always located near a city’s agora. Over time their architects designed increasingly unobstructed interior spaces. Construction of dedicated bouleuteria began in the late archaic period; earlier councils may have met in porticoes or other buildings. Councils were generally composed of 100–500 bouletai and required a capacious meeting place; the bouleuterion became one of a city’s largest secular buildings. In the 5th and 4th centuries bce, the usual form was a hypostyle hall with symmetrically spaced interior columns, level floors, and seating on benches, as at Argos and Athens. Sloping stone seating was introduced early in the Hellenistic era and became standard; both rectilinear and curvilinear versions are known, the latter much more common. Secondary meeting spaces for committees of prytaneis or probouloi were sometimes adjacent. From c. 250 bce the design of bouleuteria became increasingly ambitious. After adoption of the wooden roofing truss, interior supports could be more widely spaced, as at Priene and Miletus, and eventually eliminated. Often the product of Hellenistic and Roman euergetism, bouleuteria were constructed by private citizens and rulers; sculptures were often dedicated within their precincts. Rare architectural sculpture was limited to motifs symbolizing the council’s role as a defense against a city’s enemies. A majority of known bouleuteria are in Asia Minor, where Greek cities long retained their civic identity under Rome; membership in the council came to signify high status, in some places becoming hereditary. Many bouleuteria were built between the 2nd century bce and 2nd century ce, often incorporated, as at Ephesus and Aphrodisias, into large urban complexes. As multivalent roofed halls, bouleuteria provided useful settings for civic ceremonies and were often used for cultural activities including oratory and spectacle. Later examples became more like odeia or roofed theaters, with vast open interiors, a raised stage, and a two-storey scaenae frons that was separated from the cavea by parodoi and populated by sculptures of benefactors, deities, and emperors. When epigraphical evidence is lacking, identification of a later building as an odeion or bouleuterion can be uncertain; while some roofed halls may have served both functions, location on or near the agora points at least to political use. In Asia Minor some bouleuteria continued into the late antique period; the building at Nysa may have survived until the 10th or 11th century ce.

Burial monuments are an important element of the spiritual culture of the Przeworsk population of the Western Buh region. The main type of burials was cremation in an urn or earthen pit. The cremation rite had dominated throughout its existence, but there are cases of inhumation burials. Borrowing from the Celts, the population of the Przeworsk culture buried weapons, ISSN 0235-3490 (Print), ISSN 2616-499X (Online). Археологія, 2022, № 1 143 jewelry, personal items and pottery. Almost all items were intentionally damaged. There are cases of intentional damage to small items: brooches, spurs, scissors, pins, needles, etc. One of these burial complexes was discovered by the so-called «black diggers» and transferred to the Lviv Regional Council «History and Local Lore Museum». The burial complex contained a ritually bent double-edged sword, a shield handle and a spearhead, which were connected to each other, an iron brooches and a ritually damaged shield boss. The four iron spurs were connected in pairs. The funeral rite and the items found in the burial have numerous analogies on the monuments of the Przeworsk culture in Poland and Western Ukraine. Among the total number of burials of the Przeworsk culture, burials with swords stand out. Obviously, the presence of a sword is an evidence of the high social status of its owner. The set of features of the material found in the burial allows us to confidently date it to the phase C1a—C2 of the Late Roman period (middle — end of the 3rd century AD). The advance of the bearers of the Przeworsk culture to the south and east in this chronological period was accompanied by local military conflicts. In any case, the Przeworsk population in the region of the Western Buh was an integral part of ethnic and cultural processes that lasted throughout the 3rd century. The formation of the source base of funerary monuments of the Przeworsk culture in the future will make it possible to identify certain regional features in topography, funeral inventory and ritual actions. Given that the study of monuments of this archaeological culture in Ukraine remains low.

Introduction. The article is devoted to the typological and chronological analysis of the details of three prestigious belt sets stored in the funds of the G.N. Prozritelev and G.K. Prave Stavropol State History, Culture and Natural Landscape Reserve Museum. Methods and materials. The comparative typological method is used as a working one. It is based on the classification by material, processing method, shape, ornament, as well as on the selection and study of the types of buckles and waist plaques. The comparative analysis of the decor of belt parts from the Stavropol Museum and the like found in the Don region, Prikamye and on the territory of Hungary allows us to characterize the technology for producing a belt headset in the region in the 8th – 9th centuries. Analysis. The composition of the belt headset of the first belt found in a rich burial in Sadovoye, Arzgirsky District, Stavropol Krai, includes an iron buckle with an oval-triangular frame and a rectangular shield with a zavovanny edge, a belt tip, a clip, and a buckle. Every item is inlaid with thin gold plates. On the flap buckle and clip they are laid out in the form of a spiral. On every detail of the girdle, the gold foil is decorated with floral ornaments: five-beam rosettes, heraldic lilies (they even adorn the buckle frame), shoots with buds and leaves. Belt no. 2 found in 1969 in the rich burial 2 of Eshkakon burial ground no. 3, most likely, consisted of a belt and harness belts. The girdle set includes 10 heart-shaped patches (plaques), 4 elongated pads with rectangular slots, 9 round-triangular plaques with suspended movable rings (three rings are missing) and an oval-triangular buckle (rectangular shield is lost). Every listed item is made of white metal (silver). A floral ornament consisting of shamrocks (lotuses) is applied on the front side of all the buckles. Belt no. 3, which is also found in one of the Eshkakon burial grounds, consists of a buckle with a triangular frame and a pentagonal shield and 10 plaques of rounded triangular shape with suspended movable rings. Every item is made of bronze. Results. The rich funerary inventory of the burials in which the belts were found and their comparison with complexes that include a similar belt headset from other regions, indicate that all three belts from the Stavropol State Museum-Reserve are attributes of the military aristocracy of the second half of the 8th – 9th centuries. Chronologically, belt no. 1 is the earliest. Belt no. 2 should be considered close in time. The latest is belt no. 3.

The article characterizes the clothing assemblage in the burial rituals of the Early Iron Age population of the Upper Ob River region. The work draws from the materials found on the Bolsherechenskaya sites of the 8th (7th) — 3rd (2nd) centuries BC. Using this archaeological material, the author examines the event-driven sacralized actions with items of clothing at the stage preceding the burial, and directly during its implementation. The complex of these actions is subdivided into actions associated with symbolic damage to things; actions associated with a change in the symbolic status of things and actions that mark the high symbolic status of things. The clothing assemblage, revealed during the study of the burial, is differentiated into truly aesthetic and symbolically significant things. Whole things, as a rule, related to objects of art, are found in characteristic places of their lifetime use. Things with a symbolic status changed during the funerary rite are recorded in an unusual topographic context. Event sacralization can be viewed as an adaptive strategy for integrating things and ideas into the funerary practice of a multicultural community, consisting of certain ethno-territorial groups “with a consanguineous or neighboring type of community”.

The article investigates interrelation between philosophy of ethnoculture, ethnoculturology and ethnoculturography as components of modern culturological discourse. Aim of the article is to extend the idea about the structure of modern culturological knowledge and, in particular, to analyze how philosophy of ethnoculture, ethnoculturology and ethnoculturography correlate with each other. In connection with this there is an important task − to ground the notion of ethno-culturalography as a discourse of science and art, in particular the discourse in which ideas, archetypes, signatures and values of ethnoculture are represented in a figuratively-artistic form. The methodological value of philosophy of ethnoculture is revealed for the construction of conceptual paradigms and conceptual tools of ethnoculturology and culturological regional studies. The concept of ethnoculturography as representation of ethnoculture in artistic images of literature and art is entered in modern sciences about the culture for the first time. In particular, ethnographic approach to artistic creativity is analyzed on the examples of painting of well known Ukrainian artists Olha Petrova and Anatolii Furlet. The author understands ethnoculturology as synthesis of scientific artistic reflection that combines knowledge of ethnocultures with their pictorial reproduction by means of artistic and aesthetical facilities. For instance, ethnoculturography in painting requires a special type of discourse, where metaphysics, aesthetics, semiotics and chronotopes of the region are crossed with artistic vision, individual practice of the artist. In works of Anatolii Furlet it is manifested through artistic restoration of the mystic world of ancestors connected with "A Stone Grave" near Melitopol − one of the oldest monuments of world and national culture. For ethnoculturology of Olha Petrova the "spirit of nation" in its multicultural measurements was presented at the exhibition "Other Shores". Five "shores" of spiritual oecumene of the artist (France, Spain, Ukraine, Arabic East, Japan) outline ethnic horizons of her real and virtual travels in space and time of Eurasian cultures. Consequently, ethnoculturology practically becomes an original guide-book, a road sign (vade mecum) in the world of ethnocultures.

Hyperspectral imaging is a versatile tool, with a promising prospective for the quick identification of foodborne microbial organisms. One of the main limitations for the application of Near Infrared (NIR) Spectral imaging for the identification of microorganisms in culture media is sample presentation. Polystyrene plastic petri dishes are one the most common sample holder used in microbiological studies. They are cheap, disposable, easy to handle and well standardized. Nevertheless, their use is generally proscribed for NIR spectral imaging, as the spectral signature of Polystyrene dishes can interfere with the spectral information of interest from the sample. The aim of this study is to characterize the effect different types of sample presentation, glass and polystyrene petri dishes, and to test orthogonal projection as a pretreatment to reduce the interference of polystyrene dishes for NIR imaging of Luria Bertani Agar. The combination of Savitzky Golay smoothing, SNV and orthogonal projection allowed to attenuate the spectral differences between agar samples presented on polystyrene and glass dishes. This same approach allowed to reduce the effect of the polystyrene dishes on samples with different agar thicknesses. Future research will test this approach as a method to facilitate the identification of bacteria on polystyrene petri dishes through NIR hyperspectral imaging.

Aim. To develop chronological boundaries of the initial monuments of the Kizil-Kobа culture in the central zone of the Crimean foothills.Methodology. A comparative typological method is used to solve chronological issues. Synchronization of the initial stage of the Kizil-Koba culture with the neighboring cultures of the Northern Black Sea region is carried out.Results. Earlier, researchers dated the earliest sites of the Kizil-Koba culture of the 9th–8th centuries BC. This article shows that the earliest sites date back to the 11th–10th centuries BC.Research implications. Solving the problem of chronology of the primary sites of the Kizil-Koba culture is the main goal in the issue of the genesis of this culture.

Articles of apparel may carry strong symbolic meanings and convey messages such as gender and social status. As with other media of communication, items of dress are systematically related to each other to form codes. The top hat is a good example. Part of the urban uniform of the English male upper class from the late eighteenth century onwards, the top hat had become unfashionable in elite circles by the later years of the nineteenth century. However, by this time, the top hat had been adopted as part of the regalia of political leaders outside the colony and in later years, of the South African State President and of participants in the licenced saturnalia of the Coon Carnival.

Introduction. The article is devoted to characterizing the decorative features of the fibulabrooch discovered during the study of the mound in the northern surrounding areas of Cherkessk (territory of the Republic of Karachay-Cherkessia) and stored in the collection of the Stavropol State Museum. The aim of the publication is to introduce the poorly known scientific material into scientific use. A full set of illustrations and accurate measurements will further avoid confusion with the description of the specific artifact (in existing publications there are no drawings; conclusions are based only on photos). Explanations relate to the history of the brooch and details of its decoration. Methods. The comparative typological method is used as a working one. It is based on the classification by material, processing method, form, ornamentation, as well as identifying and studying types of brooches with pendants. The comparative analysis of the decor of the brooch from the Stavropol museum and similar brooches with pendants found in the western part of the North Caucasus shows the variety of polychrome decoration production technologies in the region in the 3rd – 1st centuries BC: preserving the traditions of Bosporan jewelry art; distribution of the elements of Colchian toreutics. Analysis. The paper considers design features of brooches from the Stavropol museum and monuments of the Western Ciscaucasia: details of zoomorphic figurines; characteristics of caste design; wire inlay; form and features of enamel inserts; character of pendant weaving and features of the design of suspended discs. Results. In the production of hollow zoomorphic images of the 3rd – 1st century BC there were two lines of development: 1) simplified modeling of figurines modeled on the pattern of Colchian products of the 5th – 4th centuries BC (Psenafa and others); 2) continuation of the tradition of producing jewelry with enamel (brooch from the mound in the land of Rodina state farm). In the first case, the simplicity and negligence of execution evidence established local production of imitations of Colchian images. In the second case, elegance of images and refinement of execution emphasize the creation of brooches of Karachay-Cherkessia in one of the centers of Bosporus toreutics which was under the influence of Colchian jewelry.

The article is devoted to the story lines about reincarnation of a heroic maiden into a heroic man in Khakas heroic tales. The relevance of the study is caused by the insufficient study of the story-line fund of Khakas epics with female characters in the main role. Reincarnation of epic heroines in Khakas heroic tales is studied for the first time. The scientific novelty lies in the fact that for the first time, using the example of Khakas epics, we show samples of texts with an artistic solution of replacing heroic maidens in the main role with male characters through their reincarnation. The purpose of the article is to identify common characteristic features in the story-line and imaginative systems of epics about reincarnation of the main character into a male hero. In this regard, the following tasks were solved: to study the composition and general motifs of the epics, to conduct a comparative analysis of the central and secondary characters (assistants and enemies). Descriptive and comparative typological methods were used in the study of epic texts; and the composition and motifs of the epics were analyzed for the first time based on the biographical principle. In the article, the topic of reincarnation of the main female characters is considered for the first time using the example of the epics “Altyn-Aryg” and “Three Orphan Sisters”. In previous scientific publications, a heroic man, born from heroic maiden Altyn-Aryg’s calcaneus, was interpreted as her son. Biographies of heroic maidens reveal common motives: a miraculous birth; violation of the ban and death as payback; the birth of a heroic man and his horse from the bones of heroic maiden and their horses; the matchmaking of a bride for a heroic man by his helpers. It is established that the birth of the heroines and their reincarnation into a heroic man occurred by the will of the Chaiaan gods. The reincarnated heroic men received honors and high social statuses: the defender of the domain equal to the khan (in epic “Altyn-Aryg”), the khan-ruler of the paternal domain (in epic “Three Orphan Sisters”). Common parallels were revealed in the images of minor characters: the helpers of the heroic maidens are the defenders of possessions such as Pis-Tumzukh-Plyo-Kharyn-Khuu-Inei and Khara Inei, and their sons  heroic men Khulatai and Khatkhan Chula  are the main enemies of the heroines. The appearance of legends with the story line about reincarnation of a heroic maiden into a heroic man is associated with a period of reassessment of the role of women in a patriarchal society. This story line is based on archaic ideas about the immortality of a soul and is not related to religious teachings about reincarnation.

Tik Tok is a popular platform for people to influence other by sharing status or short-form videos. the purposes of this study is to explore how visual signs, such as gold jewellery and other luxury items, are utilized in the context of flaunting wealth, and how meanings related to wealth and social status are conveyed and understood by employing the elements of Charles Sanders Peirce's semiotics. The method of the study is a qualitative method with a descriptive approach. Semiotic analysis is used to analyze captions, video transcripts, videos, post images, and the interpretation of the messages conveyed in the images from the TikTok account @mirahayati91. The result of the study shows that the elements of Charles Sanders Peirce's semiotics comprises three main elements that can be applied to analyse signs within a given content, including the gold flaunting content on Mira Hayati's TikTok account. The videos posted on @mirahayati91 attract significant public attention, as each upload elicits responses from online communities, resulting in both positive and negative comments. This dynamic showcases how Mira Hayati’s portrayal of wealth sparks diverse reactions, reflecting broader societal views on success, luxury, and social status. The conclution is Through semiotic analysis, the researcher successfully revealed the meanings behind the images and videos uploaded on the TikTok account @mirahayati91.

The Bugis people have a social stratification system that is inherited from generation to generation, where a person's social status is determined more by genealogical factors compared to the accumulation of material wealth. This study aims to analyse the relationship between descent and social status in the Bugis community and explore how gold jewellery functions as a symbol of prestige for women. This study uses a qualitative approach with data collection techniques including in-depth interviews, observations, and documentation in Wajo Regency, South Sulawesi. This study applies triangulation techniques by combining in-depth interviews, observations, and documentation, as well as time triangulation, to avoid temporal bias. Data analysis uses the Miles and Huberman approach through three main stages: data reduction, data presentation, and conclusion drawing and verification. The results of the study show that in the Bugis community, the social stratification system is still based on lineage, while gold functions more as a status symbol for those who already have a certain social position, rather than as a tool of social mobility. The symbolism of gold jewellery is subject to established social structures, so the prestige gained through gold is not strong enough to shift the social stratification that has been inherited.