Anthropomorphic Figures Research Articles

Royal burials and chariots from Sinauli (Uttar Pradesh, India): Radiocarbon dating and isotopic analysis based inferences

Abstract For the first time in the Indian subcontinent, a series of royal burials with chariots have been recovered from the Chalcolithic period at the archaeological site Sinauli (29°8′28″N; 77°13′1″E), Baghpat district, western Uttar Pradesh, India. Eight burials were excavated from the site; among them a royal burial with copper decorated legged coffin (lid with a series of anthropomorphic figures) and headgear has also been recovered. Among these remarkable discoveries, three full-sized chariots made of wood and copper, and a sword with a wooden hilt, made this site unique at historical ground. These cultural findings signify that the ancients from this place were involved in warfare. All these recovered exclusive antiquities also proved the sophistication and the high degree of craftsmanship of the artisans. According to the 14C radiocarbon dating and recovered material culture, the site date back to 4000 yr BP (∼2000 BCE) and is thought to belong to Ochre-Coloured Pottery (OCP)/Copper Hoard culture. This culture was believed to develop in the Ganga-Yamuna Doab and was contemporary to the late phase of the Indus civilization. Altogether, the findings indicate that the time period of this culture is plausibly contemporary to Late Indus, Mesopotamian and Greece civilizations.

Studi Banding Pola Gerak Tari Kataga dengan Seni Gambar Cadas di Situs Tron Bon Lei, Alor, Nusa Tenggara Timur (Tinjauan Etno Arkeologi)

The rock art of the Tron Bon Lei Site, Alor, East Nusa Tenggara has unique form because it is depicted in anthropomorphic figures. The figure is depicted in a certain movement pose and has attributes in the form of traditional clothing and weapons. Kataga dance is a traditional dance that was previously performed in death rituals after war in Sumba, East Nusa Tenggara. This article discusses the form of the anthropomorphic figures of the Tron Bon Lei Site Rock Art and the Kataga Traditional Dance forms with the aim of seeing the similarities and differences between the two objects in relation to the meaning of the rock art. This research was conducted using a qualitative method, namely a descriptive analytical approach. Data collection was carried out using field surveys and literature studies. The results of the research show that there are similarities between the rock art form and the Kataga Dance form. The similarities are in the movement poses, attributes and dance formations. It is hoped that this article can provide a new perspective in interpreting rock art, by looking at similar forms in contextual situation.

Narrative cave art in Indonesia by 51,200 years ago.

Previous dating research indicated that the Indonesian island of Sulawesi is host to some of the oldest known rock art1-3. That work was based on solution uranium-series (U-series) analysis of calcite deposits overlying rock art in the limestone caves of Maros-Pangkep, South Sulawesi1-3. Here we use a novelapplication of this approach-laser-ablation U-series imaging-to re-date some of the earliest cave art in this karst area and to determine the age of stylistically similar motifs at other Maros-Pangkep sites. This method provides enhanced spatial accuracy, resulting in older minimum ages for previously dated art. We show that a hunting scene from Leang Bulu' Sipong 4, which was originally dated using the previous approach to a minimum of 43,900 thousand years ago (ka)3, has a minimum age of50.2 ± 2.2 ka, and so is at least 4,040 years older than thought. Using the imaging approach, we also assign a minimum age of 53.5 ± 2.3 ka to a newly described cave art scene at Leang Karampuang. Painted at least 51,200 years ago, this narrative composition, which depicts human-like figures interacting with a pig, is now the earliest known surviving example of representational art, and visual storytelling, in the world3. Our findings show that figurative portrayals of anthropomorphic figures and animals have a deeper origin in the history of modern human (Homo sapiens) image-making than recognized to date, as does their representation in composed scenes.

Reflection of sacred symbols in folklore and dance culture of Chechens

The article is devoted to the study of sacred symbols represented in the petroglyphs of Chechnya and widely used in the material culture of the local population of the ancient and late medieval era: in the decoration of metal products, the ornament of carpets and ceramics. The author believes that sacred symbolism is reflected in spiritual culture. The circle, the cross, the spiral and other sacred symbols have been embodied in a variety of forms in oral folk art, dance culture, ritual traditions, the Nart epic, thereby defining the stylistic features of the culture of the North Caucasus. Sacred meanings are imprinted not only in the images of dancing anthropomorphic figures on the walls of residential and combat towers, but also the pattern of their movements and gestures repeats the outlines of ancient symbols, thereby testifying to the ritual nature of the origin of folk dance and many genres of oral folk art. The methodological basis of the research is a set of general historical, ethnographic and archaeological research methods, the use of which is determined by the nature of the material being studied. Thus, the internal space and structure of the phenomena of spiritual culture correspond to the forms of the main sacred symbols that existed in the culture of the peoples of the region in ancient times, thereby creating a special style of North Caucasian culture, which is characterized by inner sacredness. The reflection of mythological plots and symbols in petroglyphs and bronze plastics of the Koban culture of late Bronze and early iron testifies to the deep antiquity of folk dance and many genres of oral folk art of the population of the North Caucasus and speaks about the close intertwining of the phenomena of material and spiritual culture in that period, about the sacredness of being in its representations. Ritualism penetrates into all spheres of life (labor, funeral rite, wedding ceremony), protecting the ancient man from all bad things.

The Typology of Pins of Sapalli Culture

In the 70s of the twentieth century, the Sapalli culture of the Bronze Age (2200–1300 BC) that was formed on the territory of Northern Bactria was introduced into scientific discourse, based on studied sources in the direction of historical and archaeological research. The inhabitants of the Sapalli culture were considered extremely skilled in handicrafts in addition to farming and animal husbandry. Among the types of crafts (ceramics, construction, blacksmithing, etc.), jewelry making is especially distinguished by its unique types and forms. The pins that form the basis of jewelry found in the monuments of the Sapalli culture are an important material source for illuminating the culture of the Bronze Age of the people of Central Asia, and, they embody the lifestyle, culture, art, and traditions of the people of the Bronze Age. In addition to other types of jewelry (earrings, diadems, beads, necklaces, bracelets, amulets, rings, and bracelets), many examples of beads have been found in the monuments of Sapallitepe, Djarkutan, Mulalitepe, Bustan VI, VII, Tilla Bulak of Sapalli culture, their typological analysis helps to study their essence in-depth and, the development of their analogues. In this article, more than 140 pins that belong to the class of jewelry for a head identified from the monuments of the Sapalli culture are divided into types, groups, and classes according to the shape of the head part of the pins. Among the types of pins by the shape and purpose, pins with zoomorphic and anthropomorphic figures in the head part, rosette-shaped pins and pins with a star-shaped head part, which are rare artifacts, widespread among the cultures of the Oxus civilization, stand out.

The Pisany Kamen Rock Art Site on the Angara (Marking the Tercentenary of Its Discovery by D.G. Messerschmidt)

The petroglyphs at Pisany Kamen on the right bank of the Angara, near Klimino, Kezhemsky District, Krasnoyarsk Territory, fi rst described by D.G. Messerschmidt in 1725, have been examined by many specialists. Most previous studies, however, were superfi cial, and the information they provided was unreliable and contradictory. To specify the site’s location and to study the petroglyphs in more detail, using more advanced methods, the archaeological team from Krasnoyarsk Pedagogical University visited Pisany Kamen in 1999–2000. A topographic survey was carried out, and the petroglyphs were photographed and copied. Both previously known and new petroglyphs were recorded, showing animals, anthropomorphic fi gures in masks, and a separate mask. Results were compared with those recorded by Messerschmidt. The estimated dates of the site fall within a broad interval from the Early Bronze Age to the Late Iron Age (2nd millennium BC to 1st millennium AD). The pe troglyphs are relevant to various aspects of the ideology and material culture of the ancient popula tion of the region. Their further study will hopefully disclose the semantics of many images and assess their cultural and chronological attribution, relevant to the history of several modern groups of Siberia.

Engraved images of the Shulgan-Tash (Kapova) cave, Bashkortostan, South Ural

The cave of Shulgan-Tash (Kapova) with wall drawings of the Upper Paleolithic is located in the mountain course of the River Belaya in the Southern Urals, nearby the village of Gadelgareevo, Burzyansky district of the Republic of Bashkortostan. In the process of more than 50 years of studying the cave sanctuary, the search for engraved images has been carried out. Two compositions with engraved images were discovered in 2008. Com-position No. 1 is located in the Main Gallery, 100 m from the entrance, in a niche on the western wall at a height of about 2 m above the floor level. It consists of the elements located on two levels. At the lower level, a number of elements are confined to the natural fracture and a chain of caverns. Parallel to the horizontal crack, five lines were drawn. The lines connect to a quadrangular shape filled with vertical and horizontal lines. Behind it, the crack merges into a chain of caverns. The upper tier consists of four oval artificial recesses. The fourth groove is located under the engraved anthropomorphic figure, between the legs. This indicates that this is a vulva-shaped symbol. The grooves are connected by deeply incised lines to the quadrangular figure and caverns of the lower tier. Lines also run from the chain of the caverns downwards. Thus, these groups of artificial and natural elements were combined into a single composition. Composition No. 2 is located in the Dome Hall, 150 m from the entrance, above the Chapel of Skulls in the western wall, nearby the colorful wall images in the shape of splashes. It was made on a 16 cm × 14 cm rock surface leveled and cleaned of calcite deposits. The composition consists of three pictorial ele-ments made in three different ways. The first element is represented by two parallel arcuate bands of comb lines of 4 cm wide and about 30 cm long made with a serrated stone tool of 4 cm wide in the soft mondmilch. Under them, with finger impressions in the mondmilch, a circle of about 6 cm in diameter was made of round dimples; rows of en-graved straight lines and zigzags were applied to the right of the circle. At present, the composition is held together by calcite incrustation and has completely hardened. The use of stone tools to create the engravings and grooves, the calcite crust inside the engraved lines, the use of the natural forms of the wall relief in the pictorial ensemble, the similarity of the quadrangular figure with the quadrangular symbols painted with ochre in the same cave, and the presence of a vulva-shaped symbol — all this indicates the Upper Paleolithic Age of these compositions.

Скандинавские петроглифы бронзового века в свете ритуала, связанного с переходом от зимы к лету

The article attempts the interpretation of one of the image types of the Scandinavian rock carvings of the Bronze Age, namely, a Φ-like anthropomorphic figure on a ship. Based on the consideration of the images themselves, as well as their comparison with the ritual aspects of traditional European, in particular Swedish, seasonal festivals, on the one hand, and with Greek materials close in time, on the other hand, one can reliably conclude that the Φ-like figures of the Scandinavian rock carvings refer to a deity that ensures the arrival of the best half of the year.

Kings, Queens and Goddesses at the Window

This paper discusses windows in New Kingdom Egypt, the Iron Age Levant and Rhodes, and Persian-era Magnesia-on-the-Meander and Ephesus. One side of the window represents royal or divine powers, while the other side represents courtiers or humble believers. There is a clear hierarchy in these situations, and the window serves as the mediator between mighty powers and daily life. Thus, the window became a cultic entity unto itself, sometimes depicted without the anthropomorphic figure.

TRAINING FUTURE TEACHERS OF TECHNOLOGY IN THE ARTISTIC FIELD OF CONDUCTING A MASTER CLASS ON MAKING A KNOT DOLL

Main topic to consider are the issues of artistic features, traditions of making knotted dolls, the potential of national-patriotic and aesthetic education among student youth by means of folk art. Emphasizing on the importance of mastering the technique of making a folk doll among future technology teachers which can be widely used later in their practical pedagogical activities both in technology classes and in extracurricular educational activities with students of primary and basic new Ukrainian schools, in particular during master classes. The main topic of discussion is the need to acquire knowledge about ethnographic research on the creation of a folk doll from various materials and regional features of shaping and decorating toy in order to conduct a high-quality and effective master class on a knotted doll, to achieve the educational, developmental goal and practical significance of such a format in technology classes.The study highlights the structure of the organization and preparation for the master class on knotted dolls in general secondary education institutions. At the preparation stage, it is necessary to select and thematically decorate the room for the master class, think over the structure of the author’s mini-lecture, prepare a multimedia presentation, select illustrative and visual material, organize an exhibition of the author’s creative works of the master class, select and prepare the necessary materials for making a doll by the participants of this master class. It is important to think over the features of the final stage of the master class (posting and reflection). The work describes in detail the technological stages of making a doll: forming the head - a knot, laying out a cross from threads, forming an anthropomorphic figure, decorating the "dressing" of the doll. The research substantiates the importance of studying the traditions of folk art in institutions of higher education by conducting master classes on knotted dolls. The artistic features of the knotted doll and conducting master classes are analyzed. The importance of the introduction of innovative technologies during master classes on knotted dolls in institutions of higher education is emphasized.

Treasures of Staraya Ryazan’: Two Hundred Years of Research and New Discoveries

This article is dedicated to study of the jewelry craft of Staraya Ryazan’. It has been prepared for the 200th anniversary of the discovery of the first hoard there (1822), which marked the beginning of the study of ancient Russian towns, the most important area in the science of Russian antiquities. The marks of the individual style of a craftsman who served representatives of the princely family (interpretation of the images of animals, birds, anthropomorphic figures, and elements of ornamentation, as well as features of the technique) are considered. Jewelry made by him was found in four hoards (1950, 1966, 1970, and 2005). The hoard of 2013, in addition to jewelry, included raw materials and tools of the jeweler (bronze matrices). The number of the matrices indicates that they were intended for several workshops. Some data show that a large grand ducal jewelry workshop was located near the place of the find.

New radiocarbon dates for ornamented Mesolithic objects from north-west Poland: chronology and regional connections in the western Baltic region

During the northern European Mesolithic, new types of objects were ornamented with different geometric motifs. Many examples, however, are stray finds and their dating is poorly understood. The authors present new AMS radiocarbon dates for ornamented artefacts from Pomerania that contribute to an absolute chronology of Mesolithic art and allow for new consideration of connections between cultural groups in the western Baltic region. A baton, featuring an anthropomorphic figure, dates to the end of the Boreal period; three other objects date to the early Atlantic period, revealing a combination of regional and local innovations. The results demonstrate the value of absolute dating of stray finds for refining knowledge of wider cultural trends.

Петроглифы «восточного» облика в горах Кайракколь и долине реки Аксу

The article is devoted to the publication of new monuments of rock art in the Kairakkol mountains and the Aksu river valley, located in the Aksu district of the Almaty region of the Republic of Kazakhstan. Geographically, the mountains are part of the Dzhungar Alatau system and are located in the eastern Semirechye. A description of three engravings and a group of three clusters of geometric signs is given. The drawings were discovered during exploration work in the vicinity of the Late Pazyryk burial ground of Tausamaly in 2020 and 2021 in the western spurs of the mountain Kairakkol, rocky outcrops of the Suuk plateau, and the mountain valley of the Aksu river. As a result of the area examination, it was possible to record a large number of petroglyphs dating back from the Bronze Age to the ethnographic time. Much of it definitely dates back to the early Iron Age and the Middle Ages. A large group of tamgas and tamga-like signs was found near the burial ground. Several petroglyphs stand out clearly among other petroglyphs, which have pictorial analogies in southern Siberia, eastern regions of Central Asia, and China. The list includes an anthropomorphic figure with a complex hairstyle or in a complex headdress, a rider about a two-horse, and a dragon. They are adjoined by three drawings, including geometric figures (simple lines, circular signs), knockouts of various types and shapes, holes, images of animals, and, in one case, a rider. They form complex compositions of ideogrammatic nature. A comparative historical analysis of the drawings shows the cultural ties of their creators with the nomads of Altai, the Minusinsk Basin, and, possibly, with the tribes of Northern China. The drawings are tentatively dated to the end of the 1st millennium BC or the border of two eras.

Чемурчекские антропоморфы

The article studies peculiar anthropomorphic rock images of the Mongolian Altai, representing some persons in shoulder clothes. The co-authors analyzed the results of their own field studies and published materials from the excavated complexes of the Mongolian Altai, Tibetan petroglyphs and stone sculptures of Xinjiang. They offer an experience of typological research of the “Chemurchek type” anthropomorphic figures, a chronology and semantics of these images, and present their hypothesis about the prototypes of “Chemurchek anthropomorphs” in the cult sculpture of the Bactria–Margiana archaeological complex.

Об ещё одной возможной функции букраний в ритуальных практиках культурдокерамического неолита Передней Азии

The analysis of bucranium found in the settlements of the Pre-Ceramic Neolithic of the Western Asia showed the following: the finds today can be fairly accurately identified by species and sex and dated within the span from the last centuries of the 11th millennium BC to 7600—6000 BC. The study of the context of the use of Bos Primigenius skulls/bones in rooms and with a certain set of accompanying osteological material confirmed the assumptions made by domestic and foreign researchers that bucranium and their individual parts can be considered as a way of presenting not only important symbols, but also individual ceremonies. Reconstructions of the symbolic content of the bucranium presented in literature do not address the question of how it was translated in practice in the process of ritual actions. It is, therefore, relevant to assume that bucraniums could have another possible (practical) function: they could be used as masks. Some important evidence of the working hypothesis is offered by the finds from Cyprus — headforms made from the skulls of bulls and plastic arts used in cult with the image of anthropomorphic figures wearing a similar type of mask. The treatment of bucranium as masks suggests how the object’s meaning is translated through its direct practical application in ritual actions, with symbolic and practical functions complementing each other.

Documentación y análisis de un cepo de ancla romano y sus elementos iconográficos y epigráficos sellados

This paper aims to present the documentation and analysis methodology carried out on a lead trap from the ancient period, which belongs to the collection of traps in the Museum of Cádiz (Andalusia, Spain). The anchor stock had some interesting characteristics for this research. On the one hand, from the point of view of conservation and restoration, due to the alterations it presented. On the other hand, from a historical and archaeological point of view, it showed signs of reliefs on its surface hidden under the alteration products. The removal of the different layers of alteration that covered the surface during conservation and restoration treatments revealed an unpublished iconographic and epigraphic programme, as well as possible marks of use and manufacture. The poor state of conservation of the original surface made it impossible to visualise the details as a whole, so we applied photogrammetric methods, and subsequently processed models using various GIS analysis and point cloud processing softwares.Two photogrammetric models (in Agisoft PhotoScan) were made to document the trap in general: one prior to the conservation and restoration process; and a second three-dimensional (3D) model once the surface had been cleaned. The purpose of the second model was to visualise the reliefs programme in general, as well as the different surface details. The first complete 3D model of the object was used to perform a virtual reconstruction of the anchor including the elements that did not preserve, using a 3D modelling program (Blender).Nine areas of the stock surface were selected for the analyses of the various iconographic and epigraphic features, which were documented and processed in Agisoft PhotoScan. The Digital Elevation Model (DEM) and point cloud models were then processed with different analyses tools in Geographic Information System (GIS) (such as QGIS) and point cloud processing software (CloudCompare). Our results document a piece of highly interesting information from its surface consisting of reliefs of four dolphins; at least four rectangular stamps: two of them with possible inscriptions, and an anthropomorphic figure. Thanks to the comparative data, we conclude that the four dolphins were made with the same stamp during the stock manufacturing process. Further, we were able to reconstruct the dolphin stamp, partially preserved in each of the reliefs, by unifying the 3D models, thus revealing the original set. This system of stamping by means of reusable dies is well known in other elements such as amphorae but has not been studied in the specific case of lead traps.In the case of the epigraphic elements, the 3D documentation methodology revealed numerous micro-surface details, not visible under conventional documentation techniques, which could help specialists to interpret these inscriptions. Although they have not been analysed in this research, its documentation has promoted the appreciation of surface details that could refer to the manufacturing processes (moulds and tools) or the traces of use, providing historical information on this object. At the same time, the virtual reconstruction of the anchor has aided the formation of hypotheses on the dimensions and original appearance of the anchor. The different tools used, such as raster analysis using shadow mapping and point cloud alignment, proved to be very effective. They have fulfilled the established objectives and have helped to establish a possible analysis methodology for future lead traps with decorative elements. These types of artefacts recovered from underwater sites are very common in museum collections. In many cases, their state of conservation and the difficulty in handling them due to their size and weight make it difficult to document surface details. In this case, the multidisciplinary work of conservation and 3D documentation allows for high-quality documentation that is easy to access and exchange between researchers. The combined use of photogrammetric techniques with virtual RTI provides a non-invasive method for the object, low cost and easy processing compared to other conventional methods.

НОВЫЕ ДАННЫЕ ПО АРХЕОЛОГИИ КОКШАРОВСКОГО ТОРФЯНИКА (Среднее Зауралье)

The Koksharovsky peat bog is well-known in the archaeology of Urals and Russia primarily for its cult sites (Koksharovsky hill, Koksharovo I) and peat sites (Koksharovsko-Yurjinskaya I and II). The first excavations at the peat bog were carried out as early as 1837. Out of more than 60 archeological sites represented by materials from excavations and collections, only complexes of five sites have been published. The article introduces the previously unknown complexes of the Koksharovskoe Pole site, where materials from all archaeological eras from Mesolithic to the Middle Ages are presented. The most of the finds date back to the Neolithic (66 %) and Chalcolithic (18 %) periods. The other eras are represented by the minor additives. The collection was examined using statistical and typological, trasological, and mineralogical methods. Two clay sculptures (an anthropomorphic figure and a bird) and a bronze jewelry are of great interest. The list of mineral raw materials includes 20 items. The materials presented in the article characterize the degree of colonization of the shores of the Koksharovsky pit bog over several millennia.

Analysis and semantic interpretation of the Scandinavian ornament of the new early medieval war axe of the Volga-Kama type from the southern part of Republic of Moldova

This study is devoted to the full-fledged introduction into scientific circulation of a unique early medieval iron war hatchet inlayed with silver originating from the southern steppe zone of the Dniester-Prut interfluve of present-day territory of Republic of Moldova. The ornamented battle axe of 10th–11th centuries was found near the village of Răzeni. The type of form of war axe from Răzeni is similar to type of war axes originated in the Middle Volga region, where there was a tradition of making similar ornamented war axes of this type. The main feature of the war ax from Răzeni is the Scandinavian ornament in Ringerike style. The semantics analysis of the ornamented motif and its interpretation — is one of the main tasks of this research work of the description and introduction of the unique find into scientific circulation. The image is interpreted as the tree of life Yggdrasil sprouting from the deck of the boat, which is worshiped by an anthropomorphic figure interpreted as a Viking. The present scientific work has widely direct and indirect analogies of Scandinavian origin from the Bronze to the Viking Age. The methodology of this research includes a deep and extensive comparative analysis of the motif elements on the surface of the war hatchet. The work makes a deep structural and semantic analysis in the broad context of ancient Germanic sources and previous scientific research on the worldview of the Vikings, reflected in their mythopoetic and mythological concepts and traditions. The ceremonial-battle axe from Răzeni was presumably made and ornamented in the Volga Bulgaria by order of a Viking-man, and then got in the borderland of Ancient Rus in the area of the Bugeac steppe of the Dniester-Prut interfluve of territory of present-day Republic of Moldova. The ceremonial-battle axe could have been brought in Bugeac steppe of the Dniester-Prut interfluve by means of circulation the international water arteries “from the Varangians to the Persians” along the Volga river, and “from the Varangians to the Greeks” along the Dniester river. The uniqueness of the ornamented war hatchet from Republic of Moldova is due to the fact that it is the first find of this type of axes in the Dniester-Prut interfluve of modern Republic of Moldova, and this axe no have direct analogies in eastern Europe. The early medieval ceremonial battle axe decorated with silver, contain the image of Old Norse cosmogonic representations in a stylized motif form on the surface of the hatchet. The unique item that captures the combination and interaction of different cultures at the junction of their intersection in the Medieval world.

Историко-культурные истоки космологических представлений балаганских бурят племени булагатов (конец XIX – начало ХХ в.)

Cosmological representations associated with cosmogonic plots belong to the little-studied problems of the traditional culture of the Buryats. The purpose of this article is to identify the historical and cultural origins of cosmological representations of the Balagan Buryats of the Bulagat tribe, personified in the images of celestial deities with the common name “Kings of Waters” (Bur. Ukhan-khat). The relevance of the study is because the images of these deities in the plots of cosmogonic myths and shamanic iconography of the Balagan Bulagats differ from the traditions of all other Buryats groups of the Baikal region. The methods of comparative analysis of the specifics of their cult in the local traditions of the Buryats used in the study, historical and comparative analysis of their leading elements in the language, mythology, folklore, cosmography, and calendar of the Indo-European and historical Indo-Iranian peoples of Eurasia presented their images as a personification of cosmological classifiers. Thus, the images of anthropomorphic figures with three rays on their heads in the iconography of the Kings of the Waters at the Balagan Bulagats go back to the images of Indo-European and Indo-Iranian thunder gods with the functions of defenders of light and servants of their cult, who performed their rituals through singing and dancing. The Buryats' ideas about the origin of the shaman from the eagle and his ability to “travel” in different worlds go back to their images. The views of the Balagan Bulagats about a three-part vertical picture of the world have commonality with Hindu cosmography with the idea of the Polar Star as the top of the sky and the beginning of the process of creation of time in the evening, spatially correlated with the direction “northwest”. The name of the head of the heavenly gods with the functions of the creators of the “Kings of waters” reveals a lexical and semantic commonality with the Scythian term ‘Ud’, reflecting the concept of the soul as a substance bestowed by heaven, which, after the death of a person, separates from the form-body and ascends to heaven again. The study revealed the historical and cultural origins of the cosmological representations of the Balagan Buryats of the Bulagat tribe in the motifs of Indo-European mythology and related worldviews of the peoples of the Scythian cultural circle

Noi descoperiri în vechi colecții: un vas antropomorf de tip „dublu Janus” descoperit la Trușești / New discoveries in old collections: A “Double Janus” anthropomorphic vessel discovered in Trușești

The main purpose of our study is to (re) introduce into the scholarly circuit – with all the necessary details – an anthropomorphic vessel of a particular type discovered in Trușești-Țuguieta (Botoșani County) more than six decades ago (pl. 1-2). Its correct typological description and classification brings a new perspective on the symbolism embedded in these vessels, as an important category of sacred objects, which have a hermeneutic potential still not completely unveiled.Published in the site monograph as a vessel with a “lobed body” , the container is an anthropomorphic vessel regarded up to the present as one of a kind within the archaeological discoveries in the Cucuteni-Trypillia area. Viewed from any of its four sides, the vessel depicts the front of a female anthropomorphic figure. Specifically, it depicts the abdominal area and hips of four female figures positioned back-to-back. The female shapes are rendered in a typical representation for the Cucuteni anthropomorphic vessels, with emphasis on the abdomen and groin area, on the wide-shaped hips merges with the rest of the vessel. Referring to the typological classification made previously by us for some of the anthropomorphic vessels with a quasi-symmetrical profile, regarded as double-sided vessels of “janiform type” (pl. 3/3-4; 4), one can assert that this four-sided container is of “double Janus” type, being characterized by a feature that has been defined as an “image multiplication”.The presentation of the “double Janus”-type vessel of Trușești also gives us an opportunity to review the known archaeological data regarding the finding contexts of anthropomorphic vessels, of Cucuteni or from the contemporary and neighboring cultural areas. Their analysis allowed us to notice certain patterns of usage and abandonment of these containers, as well as the high frequency of certain associations with other types of rare artifacts, many indicated in archaeological studies as “cult pieces”. The synthesized data support the role of such anthropomorphic vessels as paraphernalia, artifacts that were used in ritual scenographies with a precisely defined role (which today can only be guessed), which is also polysemantic, being a special channel of nonverbal communication.