God Of War Research Articles

Scythian Dagger from Pilyugino village (South Urals) with Zoomorphic and Ornamental Hilt Decorations

The article publishes information about a series of daggers of the Scythian period from the Urals with zoomorphically decorated and patterned grips. They fit into a series of iron blades with similar decorations. This series has eastern origins, but is closely connected with the Southern Urals. Twelve daggers discovered in different years in the Southern Urals are distinguished by both a unified artistic program for the decoration of iron daggers and swords, and labour-intensive manufacturing. The hilts of the daggers bear heraldic schemes combining predators, traditional Scythian mythology and a unified visual tradition. This series of weapons belongs to the Filippovka cultural horizon of the 5th–4th centuries BC. The author considers this series of blades to be inherent in the Scythian culture and in no way connected with the culture of the historical Sarmatians. This culture formed in the Urals of the 6th–4th centuries BC. It is interpreted as a Scythian phenomenon that existed in the region until the late 4th century BC. In the historical context it can be identified with the culture of the so-called “deposited Scythians” of Herodotus. Chance finds of daggers may mark trade routes along the edge of the steppe zone along which caravan roads passed. These routes were controlled by the Scythian nomads. They used swords and daggers for ritual ceremonies (prayers to the god of war, or commemoration of fallen heroes, etc.). In such ritual places along trade routes, daggers were left behind, which explains why “accidental” finds of Scythian swords and daggers are so frequent in present days.

Russian Hip Hop and the War in Ukraine

In response to the ongoing war between Ukraine and Russia, beginning as early as 2014 but reaching a critical apex in the early parts of 2022, hip hop in Russia has only further cemented its role as a “popular” vehicle for the promotion of cultural activism and sociopolitical critique. Born out of post-Soviet antagonism, imperial hegemony, neoliberal commercialism, and jingoist logic, “Russian” rap is a mouthpiece of contemporary conditions. A tangible vehicle for the rediscovery of post-Soviet optimism and the promise of financial prosperity, rap in Russia both upholds and challenges cultural norms and values. In February 2022, the Russo-Ukrainian conflict turned savage, and what it meant to be Russian and be a Russian rapper changed forever. While some rappers rejected Putin’s actions, others either endorsed Putin or stayed silent. Despite the foreignness of rap to the Russian nation, by studying Russian rap and its response to geopolitical unrest the Russian “popular” thought can be more accurately understood. To ascertain how the invasion was conceptualized and synthesized into rap by the Russian rap community, two Russian rap tracks (Oksimiron, Miron Yanovich Fyodorov, Oida and Husky, Dmitry Kuznetsov, God of War) were aesthetically and linguistically analyzed. Lying on divergent sides, they represent polar opposites of Russian rap, each encoding their worldview and position of Russian life in disparate ways, reflecting their respective political voice. While limited in scope, the study provides researchers one possible way to observe how Russian rappers internalize and then aestheticize their political beliefs into their musical style.

The pre‐contact temple system of Hālawa Valley, Moloka‘i, Hawaiian Islands

ABSTRACTBuilding upon a pioneering 1909 survey of Moloka‘i Island heiau (temples) by archaeologist John F. G. Stokes, the pre‐contact temple system of Hālawa Valley is described and analysed. Ten heiau were relocated and mapped, with seven sites test excavated and radiocarbon dated. The majority of sites are terraces or terraced platforms in architectural form, ranging in size from 72 to 1300 square meters in basal area. Functionally, the temples include fishing shrines (ko‘a), agricultural or fertility temples (heiau ho‘oulu‘ai), and one luakini or temple of human sacrifice dedicated to the war god Kū. The orientations of the temple foundations appear to be deliberate (rather than dictated by topography). One group is slightly offset from cardinality and shows an eastward orientation, likely associated with the god Kāne. A second group exhibits an orientation to the ENE, which is the direction of the star cluster Makali‘i (Pleiades), whose achronycal rising determined the onset of the Makahiki season dedicated to the god Lono. The radiocarbon dates indicate that the temples were constructed during the seventeenth to eighteenth centuries, or the Archaic States Period of the Hawaiian cultural sequence.

‘Odin fra Lejre’ i rustning

‘Odin fra Lejre’ in armourA new interpretation of an iconic silver figurine from the Viking Age
 The little silver figurine ‘Odin from Lejre’ (fig. 1) has been the subject of vigorous debate, especially as to whether it is wearing a dress. In this article it is discussed in the light of Viking Age and medieval parallels: other small figurines, chess pieces and depictions of men on thrones and wearing armour. On this basis, ‘Odin from Lejre’ is interpreted as depicting the god in full armour and wearing a helmet (parallels: figs. 2 & 4). He has bushy eyebrows and a moustache and is wearing a ring around his neckand chainmail beneath his cloak. He is sitting on a throne with two ravens on the armrests and is flanked by wolves. All of these characteristics can be linked to Odin via his various names and the mythology surrounding him as the supreme (war) god (fig. 10): Odin has names associated with a helmet, bushy eyebrows, a missing eye, a moustache and the wearing of a cloak. He has two ravens (Huginn and Muninn), two wolves (Geri and Freki), a ring (Draupnir) and a throne (Hlidskjalf). Odin is described as wearing a (golden) helmet and chainmail. Considering all of Odin’s names, it is argued that as many as possible have been incorporated into the little figurine (it is only 1.75 cm tall).The figurine is interpreted as wearing male garments covering the legs (parallels: fig. 5a-c), following European elite fashion. Such garments would have been an obvious choice when the Lejre elite wished to depict the ultimate god. Ulla Mannering has argued that long garments were female characteristics, but when ‘Odin from Lejre’ is compared to depictions of emperors and kings on thrones, it is obvious that high-ranking men could also wear these (see figs. 6, 7a-d & fig. 9a-c). The ornamental sash hanging across the figurine’s long garments has parallels on Ottonian depictions of emperors (fig. 9a-d). While parallels to chainmail are evident on several depictions of warriors (see fig. 3) and on other small figurines (see fig. 4). The combination of armour and long garments is seen on members of the Byzantine cavalry (fig. 8). The most likely interpretation of the function of the figurine is as part of a völva’s staff. Odin has a name meaning Staff-wielder, Sorcerer, and Odin in full armour would be a fitting motif if the staff was used in some way in war-seiðr (-sorcery). The staff found at Fyrkat and the four examples from Birka are from fortified sites and the Ladby staff was placed in a warship, similarly a military context; these staffs could therefore also have had a similar purpose. If this interpretation is correct, it tells us about how Odin was worshipped at Lejre, as a god of war.

Óðinn’s Avatar: McCarthy’s Judge Holden in Blood Meridian

ABSTRACT In contrast to studies that establish superficial resemblances between Judge Holden of Blood Meridian and such monolithic forces of evil and destruction as the archons of Gnostic religious tradition, this article equates this larger-than-life figure with Odin, the Norse god of war. Affinities are established with this paramount god in such spheres as the patronage of battle rage and poetic inspiration; law and judgment; the absence of a moral dimension; the search for knowledge as a means to power; interrogation of the dead; shamanism and spirit travel; the hosting of a select company of fallen warriors in Valhalla; dandyism, joviality, and storytelling, but also in such darker areas as illusion, deceit, betrayal, whimsy and the gratuitous act. Preeminent is the vision of war as central to all life. Despite Holden’s claim that he cannot be fully known, the most plausible source for McCarthy’s adaptation of Odin is H. R. Ellis Davison’s Gods and Myths of Northern Europe, first published in 1964 and reissued as Gods and Myths of the Viking Age in 1981.

Karen Bassie-Sweet, Maya Gods of War

Maya Gods of War. 2021. By Karen Bassie-Sweet. Louisville, CO: University Press of Colorado. 340pp. $82 (hardcover), Open Access (e-book).

Simulation study on erosion of barrel under thermal-mechanical-chemical coupling environment

Artillery is known as the “God of War”. When the ballistic performance of the barrel is reduced to the allowable value specified by the index due to erosion and wear, the life of the barrel is terminated, and the artillery equipment completely loses its combat effectiveness. The erosion and wear of the barrel involves many factors such as temperature, mechanics, chemistry. In this paper, based on the theory of internal ballistics and heat conduction, the temperature gradient distribution law of the inner wall of the barrel during the firing process of large-caliber artillery is simulated and calculated. Combined with Fick’s second law and the theory of metal phase transition, The relationship between the [C] content in the thermochemically affected layer of the barrel and the number of firing, the relationship between the thickness of the thermally affected layer and the explosion temperature of the propellant and the temperature of the inner wall were quantitatively analyzed. On this basis, the anatomical analysis of different parts of the barrel after firing verified the accuracy of the erosion model, quantitatively revealed the barrel erosion mechanism, and clarified the direction for the life improvement of large-caliber artillery barrels.

The Cult of the Chinese God Guan Yu in the Studies of Russian Sinologists: Fieldwork Observations, Approaches, Methodology

Abstract The paper explores materials, methods and approaches used by Russian sinologists to define and analyse the cult of Guan Yu (also known as Guan-gong, Guandi, etc.), a popular god of the Chinese pantheon, revered by Daoists, Buddhists and educated Confucians, and who was also granted a number of imperial titles. Guan Yu was worshipped in late imperial China as god of war and wealth, paragon of moral virtue and loyalty to the ruler. Published and unpublished materials by Russian scholars shed light on beliefs and practices related to Guan Yu and display an array of methods including translation of original Chinese sources, field observations, scrutiny of numerous written and oral sources as well as mythological motifs. The paper displays how various angles and approaches to the same subject – worship of Guan Yu – allow a multifaceted and wholesome vision of this god’s place in Chinese traditional culture.

Video Games as Mythology Museums? Mythographical Story Collections in Games

AbstractThe growing field of historical game studies (which studies the intersection of history and video games) has often described video games with historical settings as virtual museums, based on their potential to allow players to move through a historical game space and/or interact with historical artefacts. The present article investigates how these insights may be applied to mythological video games (i.e. those that represent and simulate a storyworld known from or inspired by mythological traditions). Specifically, this article argues (1) that through the collection, combination, and presentation of different myths, mythological video games often exhibit characteristics similar to ancient and modern mythography, (2) that on the basis of these mythographical qualities, they may be considered as interactive mythology museums, and (3) that the incorporation of these features has potential for applications in education. As case studies, this article considers the popular games Age of Mythology, Smite, Immortals Fenyx Rising, God of War (and its sequel, God of War: Ragnarök), Apotheon, and Hades in light of their mythographical and museal properties. Finally, several future directions to further improve upon the educational potential of these games for both formal and informal learning are suggested.

Buddhist Baron R. Ungern von Sternberg and the Right-Wing Literature

The article describes the way Russian right-wing literature reflected the Buddhist component of the image of Baron R. Ungern von Sternberg. The author used the interpretive and comparative methods to study the works by E. Limonov, A. Dugin, and L. Prozorov, as well as poets and essayists from the Black Corps Almanac published by the Brotherhood of St. Rev. Joseph Volotsky. Each of these authors had their own perception of R. Ungern’s image, but he remained a symbol of struggle against the wrong world order. For E. Limonov and A. Shiropaev, he was an anti-Western, anti-bourgeois, and revolutionary-minded warrior who became Mahagala, a Mongol-Buddhist god of war. For A. Dugin, he was a universal Pratyekabuddhayāna who was to bring a purifying destruction upon the world as a forerunner of Bodhisattva Maitreya. For the team of the Black Corps Almanac, he was a Buddhism-related Christian warrior who opposed the red ideology. For L. Prozorov, R. Ungern was a demonic mystical being who chose fascism as a means to conquer the world but thought himself equal to Buddha and Christ. In all these cases, the image of Baron R. Ungern existed in a high stylistic register while his real biography and religious issues faded into the background, overshadowed by his symbolism. As a result, Baron R. Ungern turned into a principle that still inspires the modern right-wing, Eurasian, and traditionalist idea.

Kratos’ Fathering in God of War (2018)

God of War (2018) tells the story of Kratos’ struggle to raise his son, Atreus, by himself because of his wife's passing. Using the Good Fathering theory by Morman & Floyd, Kratos fathering will be compared to the theory to determine whether he is a bad father or a good father. The top four characteristics to determine his fathering are love, role model, availability, and involvement. The study was done using a descriptive qualitative approach. The data analysis revealed that Kratos was a bad father in the early part of the game, but later he shows changes in four characteristics of good fathering through his actions in the middle of the story.

Ares: A Greek God of Turkic Origin

The naming Ares, which is the god of war in Greek Mythology and seems to be of the Scythian, occurs in the work of Homeros before the Scythians arrived in the Eastern Europea. This fact confirms that the mentioned word belongs to the language of an indigeneous Scythian community. In this paper, the present-day remnants and equivalents of the Scythian word in Turkic and Slavic languages will be shown.

Kajian Teologi Pemujaan Gaņeśa di Pura Ponjok Batu Kecamatan Tejakula Kabupaten Buleleng

The existence of the dieties of Gaņeśa and the Nandini ox in one place at Ponjok Batu Temple has caused many perceptions, considering that in Hindu literature it is stated that the ox is the vehicle of Lord Shiva and the rat is the vehicle of Lord Gaņeśa. The purpose of this research is to find out the function and meaning of the theology of worshiping God Gaņeśa at Ponjok Batu Temple. This research includes descriptive qualitative research, the primary data source of this research is the result of interviews with informants. Data collection methods in this study are interviews, library research, and observation. The worship of Ganeśa and the Nandini ox at Ponjok Batu Temple has a theological function, namely the function of Ganeśa as a barrier to obstacles or awighneswara, the function of Ganeśa as the god of war which is proven every ceremony (piodalan) offering arrow dance, the function of worshiping Ganesha and the Nandini ox is a fusion of two sects Ganeśa as a symbol of the Ganapati sect while the Nandini ox as a symbol of the Saiwa sect, and the function of giving knowledge is known in Hindu literature that Ganeśa is the god of wisdom and knowledge. The worship of Lord Ganeśa at Ponjok Batu Temple has a meaning that is felt by the people of Tejakula, namely, the tattwa meaning that worship of Lord Gaņeśa leads to liberation, the meaning of Bhakti Yoga, namely the belief that Hindus worship Ganeśa sincerely reflects one way of liberation, namely bhakti-yoga, and the meaning of family, because at Ponjok Batu Temple not only worships Gaņeśa, but also iwa and the ox Nandini who are one Shiva family.

HANNIBALʼS STRATAGEMS

Romeʼs fiercest enemy, the one who defeated Rome on its own in the Second Punic War, Hannibalus was one of the most special warriors of all time, so we can call the Second Punic War, his war. It was through all the actions he really took his war with Rome, both after all the outstanding theories about the war, but especially by the fact that the talented Carthaginian general defeated Rome at her home, shattering the myth of her invincibility, as a city of Mars. We are not wrong when we claim that Hannibal would have defeated the god of war in this conflict as well.From the beginning of military hostilities to their end, the perfect strategist of the Puns fully controlled the theatre of operations, even being its sole director, putting his enemy, Rome, in the most disastrous situation of all time. Basically, Hannibal eliminated the echelon of command of the Roman army, but also the Roman army that is shattered in three successive battles at Trebia, Trasimenus and Cannae, ending up threatening Rome itself through the famous ante portas episode. Even though Hannibalʼs war did not result in Hannibal’s peace, the intention of the brilliant general was to eliminate Rome as an armed force and economic strength, an objective fully accomplished during the military operations. The detail that eluded him was the Roman tenacity, the one that stole his peace, but Hannibal has entirely the paternity of the second war between the Puns and the Romans, being to this day a genius of the art of war, unmatched yet.

Baron R. F. von Ungern-Sternberg as the God of War: Historical and Religious Grounds

Baron Roman F. von Ungern-Sternberg (1886–1921) was famous White Army warlord of the Russian Civil War. In 1921, he liberated Outer Mongolia from Chinese occupation and restored her independence. In publications he is often called the God of War, the White God of War, etc. Possible reasons for these designations are analyzed in this paper. It seems that sporadic information in memoirs and some memories still existing in Mongolia, which serves as the basis for this, may be corresponded with the data of Mongolian scholar B. Rinchen, which remain little known so far. Comparison of his information with other data speaks in favor of the association with Gesar considering the God of War, because the appearance of Ungern (“the White Hero”), advancing with his troops from the north, liberated Outer Mongolia and, in particular, her capital city, whose patron is Dharmapala Jamsaran, who was associated with Gesar in some Buddhist representations of the Mongols. In addition, the association with Gesar was promoted by the goal repeatedly proclaimed by Ungern, the restoration of the Manchu Emperor, whose patron was considered Gesar. Finally, Ungern could be associated with Gesar also because in Mongolia and in the campaign to Siberia, the Baron was lightly wounded only once or twice, although he participated in many battles. Narrative data are discussed.

Tupaia’s Endeavour by Lala Rolls

Reviewed by: Tupaia’s Endeavour by Lala Rolls David Lipset Lala Rolls, Producer/Director. Tupaia’s Endeavour. Random Films, New Zealand, Island Productions, 2019. 1:59 minutes. Color. Their land claims having been contested, lost, but lately reinstated in some cases, during the past several decades, Pacific peoples living in settler colonial states have sought to re-assert and reclaim nothing less than the legitimacy, authority, and moral agency of their indigenous identities. Cultural sovereignty movements promoting the teaching of Polynesian vernaculars and dances, the reinvention of technologies, such as outrigger canoes, and the restoration and protection of sacred sites, have been strong voices in broad opposition to political subordination and exploitation. However sympathetic cultural anthropology should and must be to them, particularly in light of their long history of land alienation, racism, disease, and violence to which they respond, as an integrated ideology, sovereignty movements like this constitute centripetal voices, rather than outwardly oriented, synthetic ones. They feature and privilege voices of a cultural self speaking to a restricted audience, rather than to a more cosmopolitan one. “Tupaia’s Endeavour,” Lala Rolls’s video about the Tahitian navigator who joined James Cook as he voyaged south, is part of this political discourse. As such, its achievement and flaws both stem from the primary audience to which it seems to be addressed, namely, its Polynesian peers in Tahiti and Aotearora/New Zealand. On the one hand, the movie offers fascinating insights into the southern voyages of the HMS Endeavour from the perspective of Tupaia, a Tahitian nobleman, navigator, and Arioi Society initiate. But, on the other, the narrative, although rich and intricate, is hard to follow. It juxtaposes gorgeous reenactments by Polynesian actors with voiceovers read from journals of Cook and other British on board the Endeavour. It tracks the making of the [End Page 201] film. It weaves emotional discussions among the actors with poignant interviews, and performances by, contemporary Polynesian artists, singers, and painters. And, not least, the renowned anthropologist and historian, Dame Anne Salmond, among many others, provides commentary. The portrait of Tupaia that emerges is one of a contradictory prophet, brilliant, vastly knowledgeable, yet marginalized. As an Arioi Society initiate, he lived in the constant presence of Oro, the war god. Moreover, as a navigator who read and communicated with the stars, he also lived with these astral manifestations of the ancestors. Being in the company of other Arioi initiates, he knew of the prophecy one of them had made six years before predicting that a great canoe “without an outrigger” would arrive and spell the “end of custom.” Thus, when the HMS Dolphin arrived in 1767, under the command of Samuel Wallis, Tupaia stood with the chiefess, Pudea, to greet the ship, perhaps with the prophesy in mind, Anne Salmond suggests. Tupaia had been living in exile on Pudea’s land in Tahiti, having been driven from his home village and land by neighboring islanders who had conquered it and desecrated his temple. Cook arrived two years later; when several Tahitian men were killed, Tupaia paddled out to the Endeavour with a chief to restore order and impressed the great British explorer with his knowledge and intelligence. In Salmond’s view, he was a “courageous man, who took big risks.” One of Cook’s goals in the Pacific was to track Venus and the solar system. As a star navigator, the new arrivals must have struck a chord with Tupaia. Along with Taiapu, a young Arioi Society acolyte, he made his intentions to accompany Cook upon the departure of the Endeavour. One of his living descendants claims that the reason he wanted to go along had to do with his belief that he had kin living in New Zealand, who had sailed there at some point in the past. A contemporary Tahitian tattoo artist discloses a family secret: among them, Tupaia was regarded as a “traitor” who left with the British and gave them intelligence they then used to defeat and conquer the islanders. On board, Tupaia bonded with the botanist, Joseph Banks, learned to paint from Sydney Parkinson, the natural history artist, spent time with the other foreigners aboard, and amused himself by...

Research on the Transformation of Contemporary Chinese Science Fiction

Research on the Transformation of Contemporary Chinese Science Fiction

Артефакты из раскопок Кармир блура и новая интерпретация урартского термина šišuhani

In 2021, during the excavations on the territory of Karmir Blur (Red Hill), a huge complex of the Urartian period was discovered by the Armenian and Austrian archaeologists who evidenced it had been the royal stable. In 782 BC the Urartian king Argishti I founded the city of Er(e)buni, the present capital of Armenia Yerevan. And since in his legend he stated that he had built this city in order to subdue the rival countries (i.e., “for horrifying them”), it is ensued that the fortress of the Teisheba (Teshub, the God of war) situated in Karmir Blur, as well as the newly discovered stable had been built by the same belligerent Urartian king Argishti, the son of Menua. My scientific surveys have shown that the discovered construction is not a stable, but in a wider interpretation, it is a “billet (իջևանատուն)for the royal cavalry (այրուձի)” for an overnight lodging and replacing the tired horses with more vigorous ones to continue the incursion, sometimes right before the battle with the enemy. The fact of discovering a stable with the remains of horses fully coincides with my disclosure of the meaning of the Urartian term “šišuhani”, which formerly has been translated by all urartologists with almost a zero meaning, namely – «again». According to the new semantic interpretation, this is a compound word consisting of two roots: “šišu” (= a horse, a mare, a race-horse, a stallion) and “han” (= an inn). My new interpretation is based on an episode from Movses Khorenatsi’s "History of Armenia". The brilliant Armenian historian of the 5th century amazingly preserved for the future descendants not only the word “khan” (inn), but also described the scene of the Armenian king Yervand’s escape (201 BC), during which the latter took advantage of the possibility of replacing horses in a khan. This narrative, proving the existence of the havens for horses in the capital of Armenia, Yervandashat, in the 3rd century BC, fully confirms the meaning and the purpose of the historical constructions discovered in Karmir Blur, moreover, it testifies the unshakable unity of Urartu and Armenia․

The Manifestation of Hegemonic Masculinity in The Characters of Santa Monica Studio’s God of War (2018)

This research entitled “The Manifestation of Hegemonic Masculinity in The Characters of Santa Monica Studio’s God of War (2018)” aims to figure out how hegemonic masculinity is manifested in the characters of the video game God of War (2018). The primary data is Santa Monica Studio's God of War which was observed with qualitative method. Moreover, the researcher used Connell’s theory of hegemonic masculinity to analyze the traits of hegemonic masculinity through the characters. This research also uses characterization to further examine the characters’ physical attributes and behavior in investigating their masculinities. The findings of this research indicate that hegemonic masculinity is represented through the characters of Kratos, Atreus, Brok, and Sindri. Using the above theories, the researcher found that those characters’ dialogues, actions, and behavior demonstrate hegemonic masculinity. Another important finding is that each character who performs less hegemonic can still show their hegemony through their actions and speeches. It is also discovered, to an extent that the personalities and the degree of hegemonic masculinity of the characters stem from their respective backgrounds

Крилатий кабан: образ на перетині скіфської, іранської та давньогрецької міфологій

The gold plates adorning women’s headdresses were found in the Scythian elite mounds of the 4th century BC Tovsta Mohyla and Chortomlyk. The plates recreate the same plots: the scene of two griffins attacking a deer and the confrontation between a fantastic winged boar and a predator resembling a lion. The image of a winged boar is rare in Scythian times. In addition to the above, a small series of images of a protome of a wild boar with wings is known. These are gold plates originating from the 2nd Seven-Brotherhood mound (Kuban region) of the second half of the 5th century BC and Kul-Oba mound (Crimea) in the middle of the 4th century BC. Researchers have suggested that these images are borrowed from Greek coins of the second half of the 6th – 5th centuries BC. Coins with the embossed image of a protome of a wild boar with wings were found in several regions of ancient Greece: on the islands of Rhodes, Lesbos, Samos, in the cities of the west coast of Asia Minor Cyzicus and Klazomenai, and in the state of Lydia. It is noteworthy that these are the regions that were in contact with the Persian state of the Achaemenids. The image of a winged boar is not known in Greek mythology, and the boar in myths often appears as a cruel creature of Chaos, with which the heroes come into battle. Instead, in the ancient Iranian tradition, the boar is one of the incarnations of the god of war and victory Verethragna. He, in particular, is mentioned in Yashts. The description of the boar does not mention the wings, but speaks of its free movement in space. The notion of such a movement could have influenced the appearance of images of a winged boar. Thus, the image of a winged boar on the coins of Greek cities appeared under a certain influence of the Iranian tradition. The Scythians also represented the god of war and victory (known only by the Greek name – Ares) as a boar. This is evidenced by the images on the scabbards of swords and gorytos. And so the image of a winged boar, most likely, was a reproduction of this god. The scene of the confrontation between a wild boar and a predator on plates from the Tovsta Mohyla mound and Chortomlyk mound is located next to the scene of the griffins attacking the deer. Such scenes reproduced the idea of sacrifice for the sake of future revival. The scene of the confrontation may also be related to the idea of overcoming death and the triumph of life.