Siberian Animal Style: Stylistic Features as Generic Indication

Abstract

This paper is devoted to the problems of differentiation of stylistic variants in the common phenomenon of the so-called Scythian and Siberian animal styles, which is one of the main distinctive features of Eurasian nomadic art. The animal style is a concept of more scale than an artistic style proper which distinguishes with some formal characteristics and depends directly on generic traditions and ethnic and cultural roots of art. Together with the technical-technological methods these formal features could be evidential indications of the origin of works of art. The Siberian collection of Peter the Great includes some different groups of golden ornaments decorated in animal styles of different origins. The paper focuses on a compact group of items originating from various mostly unknown sites from different territories in Asia including the Oxus treasure, several items from the Siberian collection of Peter the Great from Southern Siberia, a few jewelry pieces from other collections of the world museums as well as items made of leather and felt coming from the First and the Second Pazyryk kurgans. A distinctive feature of this group of zoomorphic images are colored inlays that accentuate a hind-leg or a shoulder of the animal; such inlays have the form of an intricate figure made up of a circle and a curvilinear triangle abutting to it or elongated round brackets. Genetically, such an ornamental motif, which is not generally typical for Persian art, may be linked to a periphery area of the Iranian world and nomadic culture, while the group of sites can be dated back to the 4th–3rd centuries BC. The paper considers a bracelet from the Siberian collection of Peter the Great which is the only item in this category of jewelry type of bracelets. It represents a rare type of ornament with a multi-component structure. It consists of three open-work strips with zoomorphic compositions in an animal style similar to the above-mentioned stylistic group. All three parts of the bracelet are created in a unified style, but obviously in different individual manners. There is no doubt, that the zoomorphic images show three different authors’ hands, and were made by different artisans. So, there is evidence of collective work on the object when each artisan makes his own operation to create a unique jewel at a workshop. Some parts of the composition on the bracelet are similar in style to zoomorphic images from kurgan Issyk in Kazakhstan which perhaps were made in the same workshop. This fact confirms the assumption of the origin of some of Siberian jewelry.