Stone Statues Research Articles

Object, subject, thing

ABSTRACTTamil Hindu priests transform anthropomorphic clay and stone statues into materially present gods who are alive, aware, and corporeally active. These embodied deities are humanlike but not human, which makes them both a rich resource for human‐divine interactions and a source of discomfort, given their potency and uncanny expressiveness. As a material practice, Hindu animation has its own material logics and technologies, practical theories, and ongoing practices of care. The embodied divinities of Hinduism can thus be brought into conversation with nonreligious animated things, such as humanoid robots. Indeed, Hindu priests’ practices of animation and their accommodations to their embodied divinities might open up different modes of engagement with nonreligious animated things. [animation, material transformations, practical theories, human‐thing accommodations, embodiment, gods and priests, ritual, Hinduism, Tamil Nadu, India]

법주사 용화보전 석조물 배치의 내러티브와 ‘石蓮池’

이 글에서는 1939~1990년에 걸쳐 이루어진 미륵대불 건립을 계기로 인지하게 된 法住寺 龍華寶殿 寺域의 성격과 그곳에 배치된 석조물들의 정체성을 재검토해 보았다. 특히 용화보전 앞 석조물에 대해, 미술사적 시각과 불교 의례적인 측면을 모두 고려하여 개별적인 정체성을 탐색하는 한편 이들의 집합적이고 의례적인 의미망을 ‘복구’해 보았다.<BR> 지금은 사라진 법주사 용화보전 앞에는 세 점의 석조물이 전각을 향해 일렬로 놓여있었다. 희견보살상과 사천왕석등, 돌로 만든 화려한 연꽃 모양의 석연지가 그것인데, 이들은 오랫동안 용화보전의 미륵장육존상을 장엄해왔다. 그러나 19세기 말, 미륵장육존상이 피탈되고 용화보전이 훼철되면서 이곳에는 석조물만이 덩그러니 남게 되었다. 다행히 1939년 주지 장석상에 의해 용화보전 사역을 재건하기 위한 움직임이 시작되어 1990년 나름의 결실을 맺었지만, 그 과정에서 용화보전의 일부를 이루었던 석조물들은 사역 곳곳으로 흩어져 버렸다. 이들의 이산은 미륵대불 조성의 결과였지만, 이렇게 이산을 용인한 데에는 ‘喜見菩薩’과 ‘石蓮池’로 불리던 석조물의 원자리가 용화보전 앞이 아닐 수도 있다는 생각과 이들이 집합적인 의미를 갖고 있는 것이 아니라는 판단이 결정적인 작용을 하였다.<BR> 이 글에서는 지금까지 개별적으로 인식되어왔던 용화보전과 그 앞의 석조물들이 용화보전에 봉안된 미륵존상을 중심으로 배치된 것이고, 그렇기에 그 정체성은 집합적으로 인지되어야 함을 역설하였다. 이들은 상호 관련 속에서 미륵하생이라는 독특한 내러티브를 만들어낸다. 이 내러티브에서 이른바 ‘희견보살’은 중요한 매개체 역할을 한다. 석가 입멸 후 열반에 들지 않고 세상에 남아있다가 미륵 하생시 석가의 法을 전하는 신표로서 가사와 발우를 전하는 역할을 하기 때문이다. 따라서 기존에 ‘희견보살’로 불리던 奉鉢石像은 하생하는 미륵을 영접하는 ‘가섭존자’로 볼 수 있겠다. 그간 그 정체성을 둘러싸고 논란이 분분했던 ‘석연지’에 대해서는 『大智度論』에서 묘사한 큰 연꽃 자체로서의 자리, 즉 蓮花 위에 寶欄을 설치하여 臺座를 표현한 ‘빈 蓮花座’로 추정하였다. 더 나아가 이 대좌는 실제 불상을 안치할 목적의 대좌가 아닌 하생할 미륵을 맞이하기 위한 빈 대좌로, 구조적 완결성을 갖춘 조형물이자, 용화보전 미륵과의 관계라는 의미망 속에서 미륵대망이라는 내러티브를 완성한다고 상정하였다.<BR> 이렇게 된다면, 법주사 용화보전의 미륵불과 그 앞의 석조물들은 당대 사람들의 간절한 미륵대망의 표현일 뿐 아니라, 법주사는 실제 하생하는 미륵을 맞이하는 장소라는 성격을 갖게 된다. 이것이 법주사가 초창기부터 간직해왔던 특이성, 즉 미륵의 하생을 기다리고, 바라고, 준비하는 미륵대망의 장소성이라 할 수 있겠다.

HLA study in Amerindian Bolivia La Paz Aymaras

Aymara people has been a relatively homogeneous group since Spanish Conquest by 1,532 CE, even if previously represented a group of various cultural defined populations who gave rise to them. They were and are established in Andean Altiplano around Titikaka Lake (Bolivia, Peru), Argentina and Chile neighborhood, speak Aymara language and have been maintained after Europeans arrival at a lower social status than Quechua (Inca) speaking people. However, both Aymara and Quechua populations acknowledge Titikaka Lake as center of their origins; both languages are also related. Specific high frequencies of HLA-A*02, -A*24 and -A*68, HLA-B*35, -B*39 and -B*48, HLA-DRB1*08:02, -DRB1*09:01, and -DRB1*14:02, and HLA-DQB1*04:02, -DQB1*03:02 and -DQB1*03:01 alleles are found in Aymaras and HLA class II haplotypes common to Andean Amerindians (DRB1*08:02-DQB1*04:02 and DRB1*04:03-DQB1*03:02), like Quechua, Aymara, Uros, Lamas and Mapuche are also found in Easter and other Pacific Islands. Giant human head stone statues at Tiwanaku (Titikaka Lake, Bolivia) are also found at Easter Island. Thus, it is possible a gene and cultural flow between Andean Amerindians and Easter and other Pacific Islands, as it was demonstrated by Thor Heyerdahl in his Kon-Tiki expedition which reached Pacific Islands sailing from El Callao Harbour (Lima, Peru).

ARCA BATU SAKE: PENJAGA BUKIT BERIBIT (SAKÉ STONE STATUE: THE KEEPER OF BUKIT BERIBIT)

Pada waktu manusia mulai sadar bahwa terdapat hakikat di alam semesta yang lebih ‘besar’ dan ‘berkuasa’ yang dapat mempengaruhi kelangsungan hidupnya, manusia berupaya untuk dapat mempersonifikasikan ‘kekuatan’ tersebut. Upaya personifikasi ini ditujukan agar ‘kekuatan’ alam lebih bersifat teraba oleh indera manusia. Wujud personifikasi tersebut dapat berupa struktur, gambar arang, lukisan cadas, atau arca, yang dijumpai di situs-situs gua atau situs terbuka di Nusantara. Salah satu wujud personifikasi alam yang ditemukan di Bukit Beribit di pedalaman hutan Sintang di bagian barat Kalimantan adalah arca Sake. Gejala yang menarik dari arca Sake ini adalah sosok dan sifat kesendiriannya, di tengah belantara hutan hujan tropis di lembah selatan Pegunungan Müller, tanpa didampingi komponen lain yang mendukung keberadaannya. Arca Sake ini berupa bentukan monolit vulkanis setinggi 2 meter, dan disebut sebagai ‘batu Tenavak’ oleh masyarakat Ot Danum. Arca serupa belum ditemukan di kawasan lain di Kalimantan. Apakah sebenarnya arca Sake ini? Etnohistori menyebutkan dua versi tentang arca tersebut, yaitu sebagai tanda mata perkawinan Rikai kepada Panjan, dan sebagai perisai spiritual atas serangan musuh terhadap etnis Ot Danum. Penelitian ini dilakukan dengan menggunakan metode kualitatif-deskriptif dengan penalaran induktif. Penalaran tersebut diuraikan dengan cara menggambarkan secara rinci data yang telah dikumpulkan, merekamnya secara verbal dan piktoral, dianalisis, untuk selanjutnya disintesiskan. Arca Sake diinterpretasikan sebagai figur arca penjaga, yang konsep pengarcaannya mengambil unsur campuran wujud binatang-binatang amfibi dan reptil dari konsep religi tua, dan berfungsi menjaga kawasan hutan Bukit Beribit.When human began to realize that there was an entity in the universe that was 'bigger' and 'powerful' that can affect their survival, human strived to personify such 'power'. This effort was intended so that the 'strength' of nature was more tangible to human senses. Such personification can take the form of structures, charcoal drawings, rock paintings, or statues, which can be found in cave sites or open sites in Nusantara. One manifestation of this nature personification found at Bukit Beribit in the depths of the Sintang forest in western Kalimantan is the Sake stone statue. An interesting phenomenon about the Sake stone statue is its form and solitariness, in the midst of tropical rainforests in the southern valley of Pegunungan Müller, unaccompanied by components that support its existence. The Sake stone statue is of a volcanic monolith as high as 2 meters, and is called the 'Tenavak stone' by the Ot Danum community. Similar statues have not been found in other regions of Kalimantan. What exactly is the Sake stone statue? The Ot Danum ethnohistory mentions two versions of its identity, i.e. as a dowry from Rikai to Panjan, and as a spiritual shield to prevent the Ot Danum from enemy attacks. This research was conducted using qualitative-descriptive methods with inductive reasoning. The arguments were described by depicting the collected data in detail, recording them verbally and pictorially, analysed and eventually synthesized them. The Sake stone statue was interpreted as a figure of a keeper, where the sculpture takes on an element of mixture of animals amphibian and reptile from old religious concepts, and serves to protect the forest region of Bukit Beribit.

Utagawa Hiroshige and New Year's Eve Foxfires at Nettle Tree, Ōji from NATURE/SUPERNATURE: Visions of This World and Beyond in Japanese Woodblock Prints

Utagawa Hiroshige and New Year's Eve Foxfires at Nettle Tree, Ōji from NATURE/SUPERNATURE: Visions of This World and Beyond in Japanese Woodblock Prints Meher McArthur (bio) Click for larger view View full resolution Utagawa Hiroshige (1797–1858) New Year's Eve Foxfires at Nettle Tree, Ōji, no. 118 from the series One Hundred Famous Views of Edo. Edo period (1603–1868), 1857. Full-color woodblock print, ink on paper 13 ¼ in. x 8 ⅝ in. (33.65 cm. x 21.91 cm.). Scripps College Collection, Gift of Mrs. James W. Johnson, 46.1.108. Meher McArthur is Art and Cultural Director, JAPAN HOUSE Los Angeles and the curator of NATURE/SUPERNATURE: Visions of This World and Beyond in Japanese Woodblock Prints (February 15, 2021–May 31, 2021). Image courtesy of Scripps College, Claremont, CA. [End Page 154] The Japanese have long believed that spiritual or supernatural beings inhabit nature and have a profound impact on human life. Depending on how humans behave toward nature and each other, these forces can be benign or destructive. In the late Edo (1603–1868) and Meiji (1868–1912) periods, natural landscapes and the spiritual beings inhabiting them became popular themes in woodblock prints. Such prints were the focus of NATURE/SUPERNATURE: Visions of This World and Beyond in Japanese Woodblock Prints, an exhibition held at JAPAN HOUSE Los Angeles from February to May 2021. The exhibition featured two main groups of supernatural beings: kami and yōkai. Broadly speaking, kami are spiritual beings that reside in particular places and elements of nature and control nature. Respecting the kami by worshipping them at shrines, offering them food and drink and holding festivals in their honor ensures their support and protection, while dishonor and neglect can invite natural disasters. Yōkai are also thought to impact people's lives in both positive and negative ways. These "mysterious apparitions" can be shape-shifting animals, trickster spirits, ghosts, demons, or monsters. In many Japanese folk tales and legends, careless or cruel behavior toward other humans, animals, and nature can bring about wicked, destructive yōkai (such as demons, angry ghosts, and monsters), while kindness is rewarded by these creatures. In Japanese folklore, foxes (kitsune) are associated with the kami of the rice harvest, but they can also be yōkai attributed with supernatural powers like shapeshifting, bewitching, and possession. In Japanese texts from the early 700s, foxes were described as benign and auspicious. They were spotted in the rice fields catching the mice who eat the rice, so were seen as protectors of the rice crop—even rice deities. Soon after, they were considered messengers of Inari, the kami of the rice harvest, and at shrines to Inari, the presence of the deity is suggested by stone statues of foxes. At some point during the Heian period (794–1185), tales of wicked foxes, who trick, bewitch, and possess [End Page 155] men were introduced into Japan from Chinese and Korean lore, adding complexity to the character of the kitsune. In this print, New Year's Eve Foxfires at Nettle Tree, Ōji by Utagawa Hiroshige (1797–1858), we see foxes gathering under a tree at nighttime. The print is from the series One Hundred Famous Views of Edo, designed during the final two years of the artist's life. The prints spotlighted popular places in the capital city Edo (modern Tokyo) and often featured details relating to traditional beliefs and practices. Here, Hiroshige portrays the natural landscape at Ōji in northern Edo, a site associated with Inari. Many Edoites visited the large Inari Shrine at Ōji in the springtime to pray for an abundant harvest in the fall. Since wealth was measured in units of rice during the Edo period, the deity also became the god of financial prosperity. Tradition also held that on New Year's Eve, sacred foxes from all regions gathered under the nettle tree at Ōji. These foxes were believed to carry torches in their mouths creating kitsune-bi, or "fox fires." Local farmers predicted the success of the coming year's crops by the brightness of these fires. In this particular print, Hiroshige imagines the mysterious atmosphere of a gathering of sacred foxes...

АНТРОПОМОРФНЫЕ КАМЕННЫЕ ИЗВАЯНИЯ И ИХ РОЛЬ В ФОРМИРОВАНИИ НАДМОГИЛЬНЫХ ПАМЯТНИКОВ КАРАЧАЕВО-БАЛКАРСКОГО НАРОДА (СЫН-ТАШ)

The culture of funeral monuments erection reflects the long process of developing the types and forms inherited from ancestors that are genetically related. The article examines different types and forms of funeral monuments erected by the ancestors of the Karachay-Balkar people. The paper provides a detailed characteristic of archaeological objects, proposes a classification of the most frequent types of funeral monuments in Karachay and Balkaria. The role of anthropomorphous steles in a syn-tash (funeral monument) formation is analysed through the lenses of evolution of the stone statue construction tradition. The authors show that stone statues served as a model for different types of funeral monuments.

Exploration Method of Stone Statue Based on Nondestructive Testing Technology-Taking Xinchang Maitreya Statue as an Example

Exploration Method of Stone Statue Based on Nondestructive Testing Technology-Taking Xinchang Maitreya Statue as an Example

The Analysis and Characteristics of the Stone Culture of Jeju Island seen in Old Literatures

본 논문에서는 고문헌 속 제주도 돌문화에 대한 내용을 관 주도형과 주민 주도형으로 구분하여 그 특징을 살펴보았다. 그 결과는 다음과 같다. 첫째, 관 주도형 돌문화는 방어유적(읍성, 진성, 연대, 환해장성)과 잣성, 돌하르방에 대한 내용이 확인되는데 이는 조선왕조실록 외 16개의 문헌에서 살펴볼 수 있었다. 이들 문헌에서는 방어유적에 대한 내용이 가장 많이 확인되었다. 한편, 주민 주도형 돌문화는 주로 돌담(밭담, 원담, 산담, 집담)과 머들에 대한 내용이 확인되는데 이는 조선왕조실록 외 21개의 문헌에서 살펴볼 수 있었다. 이들 돌문화는 다양한 종류에 비해서 대부분 돌담과 관련된 내용만 확인되고 있었다. 둘째, 문헌 속 관 주도형 돌문화의 특징으로는 돌문화의 유래인 축조 시기, 배경, 관련 인물과 함께 위치, 규복 시설현황 등이 비교적 명확하게 기록되어 있었다. 또한 방어유적과 잣성은 시기에 따른 변화모습도 살펴볼 수 있었는데 이 내용들은 현재 많은 돌문화가 문화재로 지정됨에 있어 중요하게 작용하였다. 셋째, 문헌 속 주민 주도형 돌문화의 특징으로 1230년대 밭담의 유래는 당시 제주도의 사회상을 재조명할 수 있는 중요한 단서가 되고 있었고, 지리적 환경은 제주도 돌문화가 오랜 기간 제주를 대표하는 경관임을 보여주고 있었다. 또한 1939년 다양한 돌담의 축조 규모, 돌 채취, 보수비용에 대한 기록은 당시 돌담과 관련된 점을 조명하는데 중요한 단서로 작용하고 있었다.This study classified the stone cultures of Jeju Island seen in old literatures into government-led stone culture and inhabitant-led stone culture, and analyzed the contents and examined the characteristics. The results are as follows: First, the contents of government-led stone culture mainly consist of defensive facilities(e.g. Up-seong(castle of town), Jin-seong(castle of military camp), Yeon-dea(heights to send the signal of smoke), Hwanhea-Jangseong(coastal fortress)), Jatseong(stonewall for government-installed ranches), and Dolharubang(standing stone statue). This was confirmed in 16 literatures including the Annals of the Joseon Dynasty. In these literatures, defensive facilities were the most abundant. The contents of inhabitant-led stone culture mainly consist of Stone walls(e.g. Batdam(dry field wall), Wondam(intertidal stone fish trap), Sandam(tomb-surrounding stone wall), Jipdam(stonewall for fence)) and Mudle(stone piles). This was confirmed in 21 literatures including the Annals of the Joseon Dynasty. Compared to various types of stone culture, most of these stone walls have been identified Second, the characteristics of government-led stone culture seen in old literatures are as follows: The time and background of the stone walling, and the related figures are clearly recorded together with the location, scale and facility status； defensive facilities and Jatseong showed the changes over time. These are all greatly contributed to designating a lot of government-led stone culture as cultural assets. Third, the characteristics of inhabitant-led stone culture seen in old literatures are as follows: the origin of the 1230s Batdam became an important clue for understanding the social aspect of Jeju Island at that time, and the geographical environment seen in the records showed that the stone cultures of Jeju Island have been a landscape representing this island over a long period of time. Moreover, the records made in 1939 on various types of stone wall, stone mining, stone walling and repair cost became important data for understanding at the time of stone walls.

Identification of Stone Sculptures of Tuva

The paper features some discrepancies in various publications on the Tuvan stone statues. The statues were first discovered by A. V. Adrianov in 1881 on the territory of modern Barun-Khemchik, Dzun-Khemchik and Ulug-Khem districts. Five statues represent anthropomorphic beings holding a vessel in both hands. According to L. R. Kyzlasov, this posture is peculiar to the sculptures of the Uighur period. After A.V. Adrianov, these statues were rediscovered or re-documented by other scientists. When comparing the works of A. V. Andrianov, O. H. Appelgren-Kivalo (I. R. Aspelin’s materials), C. R. Mintslov, L. A. Evtukhova, M. P. Gryaznov, and E. R. Schneider, the author revealed some discrepancies in the indication of the locations of the same statues, and the differences in their graphic representation. The author compared graphic documentation of different quality and location data to identifythe statues in the publications of these researchers. The paper introduces information on the current location of four of the five sculptures discovered by A. V. Adrianov. The article states the need for redocumentation of stone statues of Tuva by modern methods and technical means.

Research in the Turkic Stone Statues of Saryarka at the Present Stage

Research in the Turkic Stone Statues of Saryarka at the Present Stage

Research in the Turkic Stone Statues of Saryarka at the Present Stage

Research in the Turkic Stone Statues of Saryarka at the Present Stage

Evaluating tourists' preferences for attributes of thematic itineraries: Holy folklore statue in Kinmen

The aim of this study is to explore preferences of thematic itineraries from tourists' perspectives. As traditional Chinese holy folklore creatures normally concretized as stone statue, these statues with spiritual power are perceived to be apotheosis and are deemed unique tourism resources. This study utilizes holy lion statues as an example of thematic itineraries. A conceptual framework of three dimensions with eight attributes is proposed. A stated preference experiment is then conducted and 352 valid samples are collected. The data are analyzed via logit models with the consideration of tourists' heterogeneity. Ultimately, the empirical findings show that latent class model (LCM) is capable of explaining tourists' behavior. Explanations rendered by tour guides, visiting authentic statues, appreciating exhibitions, participating in related activities, buying souvenirs, enjoying food and beverage, and fees are critical factors in the selection of a thematic itinerary. The simulation using LCM further shows positive effects of service improvement.

Hillforts, rocks and warriors

During the Late Iron Age, monumental stone statues of warriors were established in the northwest of Iberia, ‘arming’ landscapes that ultimately encouraged specific types of semiotic ideologies in the region. This paper deals with how these statues on rocks not only worked in the production of liminality in the landscape – creating transitional zones on it –, but also how they functioned as liminal gateways to the past, absorbing ideas from the Bronze Age visual culture up to the Late Iron Age one, in order to create emotional responses to a new socio-political context.

Новое в изучении Тасмолинской археологической культуры Сарыарки

The article presents historical and cultural reconstructions of the research results of the last decades of the Tasmola archaeological culture of Central Kazakhstan. Tasmola archaeological culture in the frame work of the VII-III centuries BC was highlighted by M.K. Kadyrbaev in 1966. Currently, the Tasmola culture source data base has been replenished with new types of archaeological sites: “royal” mounds, settlements, stone statues. An analysis of them using new natural-science methods makes it possible to make adjustments to the culturalal and chronological periodization of the Saka era of the Saryаrka, and to consider the canons of the barrower chitecture of then nobility and the compositional structure of the living space of the steppe nomads. The archaeological classification of artifacts, radiocarbon analyzes date the Tasmola culture on the 8th-6th centuries BC. At this time, large elite barrows appear, the architectural style of settled monument sis emerging, which has been preserved until modern times, until the Kazakhs’ wintering (kystau). Study of the structure of the land part of elite memorials confirms the concept of the early Saka barrow tradition as architecturally complex and multi functional religious buildings. The stone sculptures of the Tasmolatribes’ are characterized by a complex of signs that distinguish the min to a separate group of ancient statuary art of the Scythian-Saka era.

남지장사 석조지장보살좌상 ｢造成發願文｣을 통해 본 17세기 조각승 ‘勝湖’ 연구

남지장사 석조지장보살좌상 ｢造成發願文｣을 통해 본 17세기 조각승 ‘勝湖’ 연구

Hillforts, rocks and warriors

During the Late Iron Age, monumental stone statues of warriors were established in the northwest of Iberia, ‘arming’ landscapes that ultimately encouraged specific types of semiotic ideologies in the region. This paper deals with how these statues on rocks not only worked in the production of liminality in the landscape – creating transitional zones on it –, but also how they functioned as liminal gateways to the past, absorbing ideas from the Bronze Age visual culture up to the Late Iron Age one, in order to create emotional responses to a new socio-political context.

BUDAYA INDIA DI MINANGKABAU STUDI ANALISIS TERHADAP ARTEFAK DI TANAH DATAR DAN WILAYAH SEKITARNYA

In general, the influence of Indian culture embodied in the form of Hinduism and Buddhism developed in the western region of Nus?ntara. Archaeological evidence in the form of buildings ca??i / st?pa and statues, while historical data is written in inscriptions and manuscripts. The presence of Indian cultural influences was also found in the West Sumatra region in the form of sacred buildings from brick materials, and stone and metal statues. From historical sources, information was obtained that in the region had developed a royal institution which also had the influence of Indian culture. This study used a cultural history approach, not political history which is commonly used by most archaeologists and historians. The aim of this approach is to see the unity and unity among the Nus?ntara residents, especially the Minangkabau and other regions

The Ritual Complexes and Stone Statues of the 6th to the 8th Centuries in Mongolian Steppe

The Ritual Complexes and Stone Statues of the 6th to the 8th Centuries in Mongolian Steppe

An Essay on the Buddhist Scupltures of Balhae from Primorye

An Essay on the Buddhist Scupltures of Balhae from Primorye

REPEATED RESEARCH OF THE SCYTHIAN ROYAL ALEKSANDROPOLSKY KURGAN IN 2004—2009

After excavation of the Aleksandropolsky kurgan in 1852—1856 there was variety of questions on the kurgan design, lo-age structure buried in it, on possible presence in the kurgan of unknown tombs and funeral feasts. The special attention was deserved by a question on kurgan dating at modern level. According to excavation 1852—1856 and 2004—2009 the Aleksandropolsky kurgan looks as follows.&#x0D; Proceeding from volume of the remained sailings from excavation of the kurgan about 130000 m3, most probable height of Aleksandropolsky kurgan made 23—24 m, at diameter of the revetment about 80 m and diameter of a ditch of 110 m. The kurgan surface has been covered by a stone armour. At top of Aleksandropolsky kurgan there was Scythian or Polovcian a stone statue with which finds of a series of medieval products in 1852 and 2009 are connected. The kurgan surrounded an eartwork in height of 0.9—1.1 m, wich has passes from the western and east parties in width of 3.6—4.1 m. The eartwork had width from 6,5 m to 18—20 m. The eartwork has been built after carrying out of funeral feasts and blocked the layer of funeral feasts. Between eartwork and kurgan there was a ring ditch in diameter of 110 m, in the width 4.0—5.7 m and depth of 2.2—3.3 m. Stone revetment of Aleksandropolsky kurgan represented a vertical wall in height more than 4 m and diameter about 80 m, combined of huge stone plates. For building of the revetment 11 breeds of a stone have been used from the various deposits located 40—80 km from the kurgan on a straight line or from 80 to 160 km of real distances on roads. After end of funeral of royal persons, building of the embankment of Aleksandropolsky kurgan, building of the revetment around of it and the stone armour which has covered all surface of the kurgan, funeral feast near West side of the kurgan has been spent. On the area nearby 120 Ч 15 m (nearby 1800 м2) are found fragments of 457 Ancient Greek amphoras with 52 stamps, made in Gerakleja, Ikos, Chersonese, Fasos, Chios, Sinop, Menda and seven others for the present non-local Greek centers dated of 340—330 BC. Also bones of 99 animals eaten during funeral feast (bulls, horses, sheep, goats, dogs, pigs, a hare and a deer), fragments of Scythian modelled vessels, subjects of arms, a horse bridle, personal ornaments etc. are found. Some fragments of human bones that can testify to existence ritual cannibalism at Scythians. Among the funeral feast rests 11 burials of men, the woman and children of different age, which have been killed during funeral feast have been opened. Repeated excavation of Central tomb of the kurgan has allowed to specify its sizes and details of a design which had a bit different sizes and a configuration. Absence of lateral extortionate courses along longitudinal walls of the catacomb of Central tomb is reliably established. Also two more niches within the precincts of chamber, except one, opened in 1855 have been found. Modest enough sizes of the catacomb of Central tomb of Aleksandropolsky kurgan, structure of the things found here, defines possibility of funeral in the catacomb of the Central tomb of the man and the woman only. According to the newest anthropological definitions of skulls from the Central tomb belong to the woman of 20—35 years and the man at the age of more than 50 years. Proofs of full synchronism of all tombs and other objects of Aleksandropolsky kurgan (embankment, the revetment, ditch, nearkurgan funeral feast, subways) are received. Mysterious subways of Aleksandropolsky kurgan had ritual appointment. The kurgan has been plundered through a vertical well from kurgan top in an entrance hole of the Central tomb. At this robbery robbers used also subways.