Libmonster ID: JP-1490

I. V. Schmidt, Omsk State University

55a Mira Ave., building 2, Omsk, 640077, Russia

E-mail: rebew@rambler.ru

schmidt_irina@everymail.net

UDC 903.2

Introduction

Many researchers tried to get into the secrets of the pictorial sources of the Paleolithic. But, despite the abundance of works and the availability of certain results, paleoart studies know topics that, for one reason or another, have been ignored. One of them is the semantics of ornithomorphic images of the Paleolithic period. Interest in it is expressed in a number of articles and remarkable monographs, but in comparison with the desire to reveal the content of other images that are more characteristic of Paleolithic visual art, it is much less marked.

Those interested in the history of the development of Russian paleoart studies can easily recall the discussion of a number of problems of interpretation of ornithomorphic images by archaeologists in the 1950s and 1960s. Considering the evolution of economic activity based on archaeological sources, S. N. Zamyatnin suggested a connection between the appearance of ornithomorphic themes in Paleolithic art and the evolution of hunting equipment, during which the importance of birds in the diet of paleo-humans increased, which, in turn, contributed to the development of the corresponding plot [1960].

The general conclusion was used to discuss the cultural significance of specific finds. First of all, it was noted that the strange Mezinsky ornithomorphic images belong to the "economic theme", the presence of serious economic interest in the prototypes of which (a very small bird) is difficult to assume (see Figure 1, 2). They are placed by P. I. Boriskovsky on a par with the Maltese images of "loons and ducks" (the author does not specify the comparison criteria). Therefore ,the" economic significance "of the former fully applies to their "Siberian counterparts". This point of view was shared by V. I. Gromov (Boriskovsky, 1953).

A. A. Formozov did not agree with the emergence of hunting interest in birds in the Paleolithic era. For javelins and spears of an era earlier than the Neolithic, this prey remained inaccessible, according to the researcher [1980].S. A. Semenov gives original and technically simple examples of bird fishing, but the emergence of commercial interest in the bird is associated with the Mesolithic era [1968].

The opinion of S. N. Zamyatnin did not arouse wide interest, and the interpretation of this type of figurines as objects of worship, evidence of magical and totemic representations of Paleolithic man, proposed by M. M. Gerasimov, supplemented by A. P. Okladnikov and their followers, was established in science. Each of the researchers focused their attention on various parameters of the pictorial text, which help to approach the understanding of its content.

M. M. Gerasimov made a number of important remarks emphasizing the semiotic status of specific works. First, he drew the attention of colleagues to the specifics of the place where the Maltese bird figurines were found - "in places enclosed by slabs, in a specially designated space for them." Secondly, he made suggestions about their purpose - most likely, they were pendants that were worn together with

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Ornithomorphic images from Mezin (1, 2) and Malta (3-6) (according to [Abramova, 1962, Tables XXXI, LII]).

figurines of women, which gave their semantics a cult and magical coloring [1931]. Thus, the researcher emphasized the information status of the ornithomorphic sign, relying on several factors at once: 1) the sign occupies a certain position in the "closed text" with clear borders; in one case, it is a" space " enclosed by slabs, in the other-a burial; 2) the relationship (although assumed) with anthropomorphic figures is noticeable, i.e. the status of the sign in the text is revealed (in this case, it is a Maltese costume) through its location to another bright sign; 3) feature of the sign structure - all figurines have holes. They are located in the lower parts of the figures, which suggests certain ways to use these items.

According to A. P. Okladnikov, who was engaged in identifying the specifics of the cult practice in which this image could be in demand, at the early stage of society's development, the process of personifying the elements of nature and the structures of the Universe became widespread. The image of a bird, the researcher believed, was already associated with the sky and the sun in the Paleolithic [1967]. His point of view was shared by V. N. Toporov [1972].

B. A. Frolov associated the oldest image of a bird with the upper sphere in the three-part structure of the world [1992]. Since the management of these elements was the lot of shamans, ornithomorphic images could also be perceived by their assistants, personifying beneficent forces that "bring light and life" [History of Siberia..., 1968; Ozols, 1971; Napolskikh, 1992].

Z. A. Abramova, developing this theme, suggested the emergence of totemic cults, the central figure of which was the bird, in the Paleolithic era [1962].

Questions of ornithomorphic symbolism were also raised by A. P. Kondratenko. The image of the bird seemed to him a kind of chronological marker in the development of the worldview of the Paleolithic era. In Malta, according to the researcher, the cult of birds is represented, which has replaced the cult of the snake. He suggests considering Maltese ornithomorphic figures as intermediaries between worlds [1983].

B. Brentjes and R. S. Vasilevsky wrote about the meaning of this symbol-sign. They saw in the sign the personification of the souls of the dead or their carriers to other worlds. This is how swans are perceived in traditional northern cultures (Brentjes and Vasilevsky, 1989).

The outlines of the Maltese ornithomorph figurines remind the Austrian researcher E. Ghazal of the prototype of the ancient Egyptian life sign and at the same time phallic symbols (Ghazal, 1995). What is surprising is that any of these explanations is based on the analysis of images that are not only vividly imaginative, but also have a certain symbolic completeness. Most of the options offer us to see a dynamic image that can or contributes to moving in different elements and spaces. But is it possible to come to a similar conclusion by looking at specific figures of Maltese ornithomorphs?

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Research goals, sources, and conditions

In this paper, it is difficult to adequately characterize even half of the above-mentioned interpretative positions, so we will turn only to one of them, to the discussion that unfolded between S. N. Zamyatnin and his opponents in the 1960s, the conclusions of which were summarized by A. A. Formozov. If we slightly shift the emphasis placed by Soviet researchers in it, we will probably be able to get a new vision of long-known subjects. Before starting to develop a hypothesis or determine the relevance of existing ones, it is suggested to pay attention directly to bone products, pictorial texts and their iconic completeness, characteristic details of specific images. A prerequisite for the research is the immutability of the thesis about the realism of Paleolithic visual art and the importance of any "trifle" of the visual text.

Discussion

The development and results of the discussion we are considering are quite logical, but only if the problem of the evolution of hunting equipment is recognized as the leading topic. If the focus is shifted to the question of the emergence of economic interest in poultry in the Paleolithic era, then the discussion can continue. Let us turn to the search for ethnographic parallels and present those that give credibility to the hypothesis put forward by S. N. Zamyatnin (one of its subtopics). Leaving aside the criticism of the possibilities and value of ethnographic examples for clarifying the subjects of Paleolithic culture*, we note that it is incorrect to completely reject their significance. There are situations and procedures, first of all in the sphere of production, the evolution of which, due to their extreme "simplicity", is impossible.

So, the production logic and form of relations in the hunter-prey-ecosystem chain change when one of the links changes. Of course, nothing Paleolithic has survived to our time: there is no Paleolithic hunter, no Paleolithic prey, no paleoecosystem. But if we leave aside the characteristic markers of the epoch that are inaccessible to interpreters, for example, the mammoth hunt, and turn to the consideration of those rare links in the ecological chain that "survived" not only the Paleolithic, then perhaps we can "revive" some elements of ancient culture. Everyone is well aware that in the Paleolithic period, not only mammoths were hunted (and mostly not on them). Small animals were never out of the hunters ' sight. But even here any reconstructions are difficult, since the mobility of prey made contact with it difficult, and the variants of remote hunting techniques (traps, javelins, spears) seem very "modern"; A. A. Formozov's remark is true. However, we forget about another method of hunting-collecting animals in those rare moments of immobility when their body undergoes seasonal changes. In this case, hunting is difficult to distinguish from gathering. Methods of gathering (we will add "hunting gathering") - the topic is easier to think about. Its simplicity lies in the fact that the algorithms of this type of economic activity do not depend on the level of development of culture, for example, what could have changed since the Paleolithic era in the methods of collecting berries, mushrooms, tree fruits or vegetables? No super-complex, specialized devices are required for this. But few people can imagine the disclosure of this topic on the example of gathering... This technique was ignored by S. N. Zamyatnin, since it did not in any way belong to the problem of the evolution of hunting equipment, which the researcher worked on solving. It remains unclear why it was not mentioned by A. A. Formozov, who criticized "the development of economic interest in birds in the Paleolithic". Economic interest in something, its presence and forms are not always determined by the development of the tool base, but they are always related to the ecological situation** in which the culture found itself or from time to time could be located. In this case, the technique in question, its result or condition, due to its simplicity and at the same time a certain supernaturalness for human consciousness, apparently found its place in the iconic sphere of Maltese-Buret culture. The meaning of this interpretation of the image is seen in the following.

Many ethnologists around the world know the colorful rituals of so-called traditional cultures, the object of which is a migratory bird. It is not only solemnly met and escorted, but also caught for consumption. Trapping takes place at a certain time

* We avoid using this technique when the task of research is related to identifying the semantics or some content of paleoimages, but here we consider other cultural manifestations (see, for example, [Levin, 1961; Feinberg, 1981; Shnirelman, 1984; Schmidt, 2004]).

** The ecological situation in this case is understood as the whole set of natural factors (both plant and animal) surrounding a person, their originality, which causes a certain reaction of culture to them.

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year - in mid-July and early August. Both months (or rather, their respective segments) in the calendars of the northern peoples, especially vividly among the Nenets*, are called the time of molting birds, sometimes goose month, swan month. In the second half of July, geese begin to shed; in the first half of August, they have a new plumage, a "new wing". In nesting geese, molting can last up to six weeks, while in other geese, it takes half as long. During all this time, even adults cannot fly. Given the clumsiness of their ground movement, it is clear that during this period the birds are the easiest of all possible prey. A.V. Golovnev described in detail the procedure of herding and collecting flightless birds [1995].

For us, this information is interesting because it can be correlated with the pictorial plot of the Siberian Paleolithic "loons-swans"**, with extremely short, "chopped off" wings (see Figure 3-6). Considering a single image as a complete iconic text, and the details that characterize it as meaningful fragments, we can try to explain perhaps the most mysterious element of it - the unnaturally short wings of birds. Taking into account the given ethnographic example, this feature can be represented as a metaphor for the specific state of birds, which is unnatural for them and at the same time quite real. And what, if not realism (sometimes realism at any cost) is inherent in Paleolithic visual art? Just look at the length of the swan's neck, which the bone cutters of Malta and Bureti considered impossible to "stylize". It is the wings of birds that are shortened (sometimes this makes the image unrecognizable). Stylization, of course, cannot be ruled out, but in the Paleolithic it never so strongly oppressed the image as it is presented in the materials of two monuments. The peculiarity of presenting the image is probably due to an attempt to reflect a specific plot from hunting practice or a metaphor of the seasonal state of culture; it can also be a symbolic expression of its (culture's) seasonal and economic interests.

But it is difficult to explain this situation with facts drawn exclusively from reality. Why does a bird in its" defective "state, even if it is very" convenient " for humans, become one of the two leading themes of visual art of the paleohuman of the Siberian region? The time period during which this sign can be a symbol of the economic life of the community, i.e. be relevant, is short - only a few weeks***. Can these few weeks have such a strong impact on the representative imagery of the culture? If the formation and content of the sign are related only to the economic role of the bird, then it is unlikely. Such an interpretation of the image in ethnographic societies is unknown, despite the fact that it is assigned a place in the economic calendar and cultural practice. The bird image is also missing in the archaeological layers of many other monuments in the territories that are located on the migration routes of economically attractive birds. Therefore, the significance of the image was something else, something more vivid than "economic potential".

When trying to interpret this image, special attention should be paid to the" inferiority " of the character, highlighted in a dozen images. Interestingly, the importance of this text - a bird that can't fly or can't fly away - is noted in several areas of ancient Maltese culture at once. Images of" loons-swans "are found in the dwellings- " in the world of the living", the only burial of the settlement - "in the world of the dead" and outside these complexes. Such a deep penetration of the image into the" text " of the settlement is alarming and warns of unrealistic hopes to explain its iconic concreteness.

It is not possible to continue reasoning further; the materials of the monument have not yet been published. But with the available completeness of archaeological information, it becomes clear that the ethnographic example is interesting, but the basis of the ornithomorphic sign-image was not the economic characteristic of birds (for the most part, not it). The evolution of the relationship between birds and humans in the Paleolithic certainly affected its formation, but the archaeological context of the finds in Malta and Bureti indicates a deeper penetration of the ornithomorphic image into the spheres of consciousness of Paleolithic man. Neither the mammoth, rhinoceros, or lion-animals no less interesting from an economic point of view (their bones were also found on the settlement) and unique in their behavioral activity - received such attention as the swan with clipped wings.

* This theme, which also reflects the corresponding level of commercial interest in birds, is less well represented among the Ugric peoples, which, given the existence of a well-known creation myth, is strange. Despite the fact that the plots of messenger birds are presented in great detail in their calendar, August is only the "month of loon chicks" (Golovnev, 1995, p.375), but not the loon itself.

** According to the oral remark of the ornithologist A. V. Zinoviev, the prototype of these works could only be a swan, if in their reasoning they rely on the thesis of the extreme realism of Paleolithic art.

*** Of course, you need to take into account that during this short time they make meat preparations for several months. But we are talking about several months, and not the coldest, hungriest and most convenient for storage. Even with modern meat processing technologies, most of the production, as A.V. Golovnev points out, disappears.

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In a strange way, the man himself was connected, both literally and figuratively, with this "flawed" bird. Let us recall M. M. Gerasimov's suggestion about the method of wearing bone figurines. Suspended by laces, attached by a hole in the lower part of the sculpture to clothing, they should have accompanied a person everywhere. But, according to the situation recorded by archaeologists, such a form of contact was infrequent (perhaps only on holidays). Otherwise, the figures would be doomed to "disappear" along with the person. This union is noticeable and understandable in complexes interpreted as dwellings. The "solemn" connection between man and bird is reflected in the only burial site. Its presence is also noticeable in "specially enclosed spaces" (Gerasimov, 1931), which are not dwellings or burials - people created them specifically for something, and bird figurines were a frequent element of these structures, which are still incomprehensible to us.

It is more difficult to identify the relationship of elements in the visual field of a monument. As noted, it persistently presents two themes - the "flawed" bird and the "human"*. The sphere of their interaction is housing. It is interesting that the anthropomorphic image, like the bird figurine, could be located outside the dwelling or in a" space " enclosed by slabs [Hancar, 1940, p. 111, Abb. 7], but in this case the anthropomorphic figurines have a different accompanying context, which the bird did not fall into, which indicates the presence of a certain difference (but not contrasts) in the content of these signs, - a person turned to them in different situations, or they represented qualitatively different states of a person.

Further discussion will convince us that it is necessary to work with a broad sign context, where the bird is only a part of it. There is no doubt about this fact, but it takes our research beyond the previously established framework. Let's return to the image and once again, but we will clearly identify important semiotic characteristics, without taking into account which its perception is unfair: 1) this is not a bird, but only something that resembles it; "that" that was once a bird. This "creature" does not have wings - an important sign of feathered images or images that were determined by the will of man to fly; 2) these objects could be associated with a person, but, apparently, did not have a direct and permanent influence on him. Under circumstances unknown to us, a person could part with them. And not just to lose or forget them in the settlement, but to deliberately abandon them, placing them in "stone structures" (which I would like to call specific "burials" of figurines, but so far without reason).

Conclusion

Starting with this study, we did not expect to get answers to questions about the content of ornithomorphic images. The small number of published materials of the monument and the methodological level of the procedure for their interpretation do not allow us to put forward even reasoned assumptions in this regard. But this does not deter attempts at theoretical generalizations; as a rule, they are not based on a detailed analysis of the sign completeness of the main source of reasoning - images themselves. All sorts of theories, the development of which is connected with the subject areas of cultural studies, ethnology, and religious studies, often distract attention from the specific significance of the archaeological text and context, rather than try to explain them. During the 70 years of existence of the Malta-Buret collection, none of the researchers paid attention to the characteristic detail of ornithomorphic images - the "winglessness" of the images. The Siberian monuments of Malta and Buret represent a unique visual material; one of the themes is a bird with clipped wings, a bird that for some reason cannot fly. Let's think about how fair it is to perceive this image in its iconic completeness as a symbol of the Sun, the upper spheres, and everything else associated with the" top " or rapid movement in any of the spheres. Namely, this thematic spectrum was found to be predominant in Russian paleoartistic studies. How to explain these "leading" details, what is the essence of their content - the tasks of more serious research. First, we need to learn how to see them, accept the importance of their presence, and not hide behind "stylization masks".

* Stylistic oddity of figurines is determined by the presence of small details that are not noticeable to the eye. It was first noted in the Western European literature (Hancar, 1940; Bandi and Malinger, 1955; Graziosi, 1956; Drossier, 1980). In Russian science, the development of this topic was supported by Z. A. Abramova. In one of her works, the researcher touched upon the problem of transmitting the proportions of the depicted bodies and pointed out striking distortions that were unworthy of the skill of Paleolithic bone cutter. The heads of all Siberian figurines, without exception, are disproportionately large compared to their bodies [1987]. Can this be a sign of the specific content of the symbol? Z. A. Abramova does not give an answer, but it is important that the problem was reported. Only V. E. Larichev turned to its consideration, having seen the features of anthropozoomorphic creatures in the statuettes [1999]. The distortions emphasized the semantic status of the information contained in the figures. According to V. E. Larichev, many such images are astronomical calendars, symbols of astral bodies [1992; 1994a, b; 1997; 1998; 2000].

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List of literature

Abramova Z. A. Paleolithic art on the territory of the USSR. - Moscow; L.: Publishing House of the USSR Academy of Sciences, 1962. - 85 p., 63 tables. - (SAI; issue. A 4/3).

Abramova Z. A. O nekotorykh osobennostei paleoliticheskikh zhenshchikh statuetok Sibiri [On some features of Paleolithic female figurines of Siberia]. Novosibirsk: Nauka Publ., 1987, pp. 28-36.

Boriskovsky P. I. Paleolith of Ukraine. Historical and archaeological essays, 1953, 464 p. (MIA; N 40).

Gerasimov M. M. Malta. Paleolithic site (preliminary data): results of works in 1928/29-Irkutsk: Vlast truda, 1931. - 34 p.

Golovnev A.V. Talkative cultures: Traditions of Samoyeds and Ugrians. Yekaterinburg: Ural Branch of the Russian Academy of Sciences, 1995, 606 p.

Zamyatnin S. N. Nekotorye voprosy izucheniya khozyaistva v epokhu paleolita [Some issues of studying the economy in the Paleolithic era]. Problemy istorii pervobytnogo obshchestva [Problems of the history of primitive society].

Istoriya Sibiri s drevneyshikh vremen do nashim dne [History of Siberia from ancient times to the present day]. Ed. by A. P. Okladnikov, Nauka Publ., 1968, vol. 1, 454 p.

Kondratenko A. P. K voprosu o funktsionalnom naznachenii verkhnepaleoliticheskoi plastki stoyki Malta [On the functional purpose of the Upper Paleolithic plate of the Malta site]. Novosibirsk: Nauka Publ., 1983, pp. 66-76.

Larichev, V. E., Mother of the World (calendar of pregnancy of a woman of the Ancient Stone Age of Siberia and the semantics of Paleolithic Venus sculptures), Izv. SB RAS. Ser. History, Philology and Philosophy. - 1992. - Issue 3. - p. 48-56.

Larichev V. E. Boginya Luny (deciphering the sign system of Maltese sculpture and its semantics) / / Ancient Cultures of Southern Siberia and North-Eastern China. Novosibirsk: Nauka Publ., 1994a, pp. 40-52 (Istoriya i kul'tura Vostoka Azii; vol. 23).

Larichev V. E. Ancestor of the Gods (astral identification of Maltese sculpture) // Methodology and methodology of archaeological reconstructions. Novosibirsk: Publishing House of the Institute of Thermophysics SB RAS, 1994b., pp. 126-147.

Larichev V. E. Sculptural image of the Sun in the art of the ancient Stone Age of Siberia (Maltese culture) / / Ancient Astronomy: Sky and man: Tez. dokl. International Scientific Journal -method. conf., November 19-24, 1997, Moscow, 1997, p. 44.

Larichev V. E. Venera Sibirskaya: antropomorfnaya sculptura iz Bureti i chtenenie svyazannoy s neyu znakovoy zapiski [Siberian Venus: an anthropomorphic sculpture from Bureti and reading of the sign record associated with it]. simp. Novosibirsk: IAET SB RAS, 1998, vol. 2, pp. 94-111.

Larichev V. E. Dawn of Astrology: Troglodyte zodiac, Moon, Sun and "wandering stars". Novosibirsk, IAET SB RAS Publ., 1999, 320 p. (in Russian)

Larichev V. E. Astral'nye bogi drevnekamennogo veka Sibiri (Maltese culture) [Astral gods of the Ancient Stone Age of Siberia (Maltese Culture)].

Levin M. G. Etnograficheskie i antropologicheskie materialy kak istoricheskii istochnik (K metodologii izucheniya istorii bezpismennykh narodov) [Ethnographic and anthropological materials as a historical source (On the methodology of studying the history of non - written peoples)].

Napolskikh V. V. Opyt rekonstruktsii semantiki maltiskikh ornitomorfnykh izobrazheniy [Experience of reconstruction of the semantics of Maltese ornithomorphic images]. Yekaterinburg: Publishing House of the Ural Branch of the Russian Academy of Sciences, 1992, pp. 66-73.

Okladnikov A. P. Utro iskusstva [Morning of Art], Moscow: Iskusstvo Publ., 1967, 135 p.

Semenov S. A. Razvitie tekhniki v kamennom vek [Development of technology in the Stone Age].

Toporov, V. N., On the origin of some poetic symbols of the Paleolithic Era, Rannie formy iskusstva, Moscow: Iskusstvo Publ., 1972, pp. 77-98.

Feinberg L. A. O vozmozhnykh etnograficheskikh analogakh pervobytnogo obshchestva okhotnikov i sobratelei [On possible ethnographic analogs of the primitive society of hunters and gatherers].

Formozov A. A. Pamyatniki pervobytnogo iskusstva na territorii SSSR [Monuments of primitive art on the territory of the USSR]. Moscow: Nauka Publ., 1980, 136 p.

Frolov B. A. Primeval graphics of Europe, Moscow: Nauka Publ., 1992, 200 p.

Schmidt I. V. To the depth of the method. Iz istorii metodicheskogo aktiva semanticheskogo analiza paleoiskusstva Severnoi Azii [From the history of the methodological asset of semantic analysis of Paleoart of Northern Asia]. - Almaaty; Omsk: Izdat dom "Nauka", 2004. - pp. 290-292.

Shnirelman V. A. Etnoarcheologiya - 70-e gody [Ethnoarchaeology-the 70s]. SE. - 1984. - N 2. - pp. 100-113.

Bandi H. -G., Maringer J. Kunst der Eiszeit. Levantekunst. Arktischekunst. - Basel: Holbein, 1955. - 170 S.

Brentjes B., Vasilevsky R. S. Schamanenkrone und Weltenbaum: Kunst der Nomaden Nordasiens. - Leipzig: E. A. Seeman, 1989. - 204 S.

Drossler R. Kunst der Eiszeit (von Spanien bis Sibirien) - Leipzig: Koehler & Amelang, 1980. - 242 S.

Ghazal E. Schlangenkult und Tempelliebe: sakrale Erotik in archaischen Gesellschaften. - Berlin: Simon und Peutner, 1995. - 331 S.

Graziosi P. Die Kunst der Altsteinzeit. - Florenz: Copyright by Sansoni, 1956. - 300 S.

Hancar F. Zum Problem der Venusstatuetten im eurasischen Jungpaleolithikum // Prahistorische Zeitschrift. - 1940. - Bd. 30/31. - S. 85 - 156.

Ozols J. Zum Schamanismus der jungpalaolitischen Rentierjager von Mal'ta // Kolner Jahrbuch fur Vor- und Frahgeschichte. - 1971. - Bd. 12. - S. 27 - 49.

The article was submitted to the Editorial Board on 12.03.07.

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