Abstract
This paper proposes the reconstruction of the Scythian eschatological concepts on the basis of semantics of the Sakhnivka plate composition (4th century BC, Museum of Historical Treasures of Ukraine, branch of the National Museum of History of Ukraine). Taking into account the ritual detour of the sacral center from left to right in the Indo-Iranian tradition, the plate plots show a consecutive visual statement of the episodes of the myth of Kolaxais’ destiny. The culmination scene of the plate includes three figures. The half-turned and full-face iconography of the Goddess shows her belonging to two figures, on her both sides: to a meeting of the bearded Scythian king on the right and a scene with a young Scythian on the left (an image of the young, “regenerated” king / Kolaxais). Only the last figure has a in caftan wrapped from right to left, i.e. the clasp of the “living person” (as opposed to other figures) that confirms his special status of ‘reborn’. Accordingly, scenes show the important episodes of the Scythian eschatological representations connected with posthumous fate, basis for the ideology of funerary rites.
Highlights
The plot structure of the front attire decorations on the Scythian gold plate from Sakhnivka (4th century BC)[3] is still unique, both contextually and in the number of anthropomorphic images in its content (Figs. 1-3)[4]
This paper proposes the reconstruction of the Scythian eschatological concepts on the basis of semantics of the Sakhnivka plate composition (4th century BC, Museum of Historical Treasures of Ukraine, branch of the National Museum of History of Ukraine)
On the similar plaques from the Kul-Oba and Patinioti barrows[45] and there is a full face representation of the bearded Scythian, who has a gorytos on the left side, in his right hand he has a rhyton and he leans on the weapon with his left hand, most likely on an whip, which reflects a close analogy to the image of the Sakhnivka plate
Summary
The plot structure of the front attire decorations on the Scythian gold plate from Sakhnivka (4th century BC)[3] is still unique, both contextually and in the number of anthropomorphic images in its content (Figs. 1-3)[4]. 3, 2; Svetlana Bessonova, Religioznyye predstavleniya skifov (Kiev: Naukova Dumka, 1983), 101, fig. The review of interpretations shows that there are two main directions in the understanding of semantics of the plate, where the first is the idea of investiture and the second is the feast-sacrifice images. There are other original interpretations of its scenes as ritual divination and the military festival. From my point of view, it is perspective and logically by the specific nature of the object that is an unlocked circle For this reason I tend to view the composition plot not in linear[16], but in circular projection that removes the “absurdity” of the scenes directness[17], and will bring closer to the understanding of its content
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