The article examines the essence of the sacredness of art, reflecting the natural vital needs of the indigenous population of Sakhalin Island. Material artefacts are studied: the Rukutama rod made from deer antler, from the Uilta aerial burial site in the Rukutama River area (Poronai district, Sakhalin Region), and ceramics of the VIII-XIII centuries AD found in the territory of Poronai and Korsakov districts, as well as "verbal artifacts"preserved in language and myths. Ethnological data collected by the author during 20 years of expeditions in the Sakhalin region and artifacts stored in museums of the Sakhalin region, St. Petersburg, Osaka and Hokkaido are compared. Tungus-Manchu dictionaries are widely used as an additional source. The main subjects of the sacred world of uylta are analyzed in detail: the ritual attitude to fire, dog, bear, and bird kori. The perception of space conveyed through visual art reflects and reveals the multifaceted connection between the Uilta ethnic culture of Sakhalin Island and other Tungus-Manchu communities of the mainland: Nanai, Ulchi, Negidalians, and Orochi. Numerous similarities in the worldview of the Uylta and Evenks testify to the unity of their origin.
Keywords: sacred space, rod, deer horn, Sakhalin Island, North Asia, Tungus-Manchus, Evenki, Uylta.
Introduction
The interrelation of art, ideas about sacred space and vital needs of a person is obvious and inexhaustible. It is considered in numerous studies of ethnic communities of different territories and epochs. The works of L. Ya. Sternberg, A. P. Okladnikov, A. P. Derevyanko, S. A. Arutyunov, S. V. Ivanov, Ya. A. Sher, A.V. Golovnev, E. G. Devlet, M. A. Devlet and others are widely known. The topic of sacred art and sacred space is discussed at many international scientific forums*. Such problems are reflected in the pages of this journal (Cheremisin, 2009; Baulo, 2009; Zhulnikov and Kashina, 2010).
Let's outline the range of scientific issues under consideration: what is life space in the worldview of one of the indigenous small-numbered peoples of Sakhalin; what elements of nature played a major role in the cycle of life support for these ethnic communities; how did a person fit his life into the sacred (i.e. studied) space; is the sacred space separable from the general living space or is this the essence of space itself; what is an island? in the worldview of the indigenous people-
* The hypothesis considered in the article was presented by the author at the International III Northern Archaeological Congress, which was held on November 8-13, 2010 in Khanty-Mansiysk [III Northern Archaeological Congress, 2010, pp. 187-188], as well as at the International Scientific Conference "Historical and Cultural Heritage of the peoples of the North and Siberia", held in Moscow, December 21-22, 2010
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cultural heritage; how the myth-ritual practice was inherited by generations of island residents and preserved the memory of the sacredness of their ancestors who lived on the mainland; what is the role of ornament as a part of ethnic art in inheriting the worldview of the developed living space.
Artifacts from Sakhalin, in particular, serve as a source for studying the sacredness of art; they provide an opportunity to join through this art in everyday life, covering all the natural vital needs of a person of past eras. And it is these needs that unite a person of the past and present in appeals to the Earth, Sky, Sea, Water, River, Taiga, Fire, North Star, etc.
Material artefacts, as well as "verbal artefacts" of the past, provide a comprehensive understanding of the worldview structure of the indigenous population of Sakhalin Island. It is possible to compare the ethnological material collected in the Poronai and Nogliki districts of the Sakhalin Region during expeditions in 1990-2009 with the artefacts stored in the museums of the Sakhalin region, St. Petersburg, Hokkaido, and Osaka*.
The Rukutama rod** and fragments of ceramic vessels with images of a ritual female dance** * are of particular interest to reveal the stated topic.
Space in the worldview and its reflection in ethnic art
Let us consider the hypothesis of perception of the sacred space of the Uilta, one of the Tungus-Manchu peoples who have inhabited Sakhalin for several centuries. Its living space included a real geographical space endowed with a sacred meaning, as well as the entire mythological Cosmos, including the terrestrial and non-terrestrial worlds [Ermolova, 2007, p. 87]. It is this perception that is reflected in the Rukutama Wand.
1), was discovered by a hunter in 1972 on the Rukutama River (the area of traditional settlement of the southern Uilta group), more precisely on its old arm-the Angurovka River, which previously flowed into Lake Baikal. Nevskoe highway. The horn, according to the hunter, lay with its front side up next to the supporting pillars of the aerial burial site, near which there were also fragments of burial clothes and a split cast-iron boiler on three legs with a forged arc handle (first publication about the rod: [Fedorchuk, 1995, p.128]). It is quite possible that this was the burial place of one of the last Uyltin shamans.
The hunter tried to saw through the horn to make a knife handle, but "felt the strong impact of the horn" and gave up the task. Later, the find was transferred to the museum of Poronaisk. Unfortunately, the age of the rod horn has not been determined; the burial can be attributed very roughly to the 1930s-1940s, later the authorities would not allow an aerial burial, but how many generations of shamans could use this rod is unknown.
The analysis of the wand should be preceded by comments on the features of maps of past centuries. So, maps of the XVII century differ from modern ones, in particular, by marking the cardinal directions: north-at the bottom, south - at the top, west - on the right and east-on the left. As an example, let's call " The ancient Drawing of All Siberia (Godunov). 1667 " with the image of Sakhalin Island at the mouth of the Amur River (Vysokov, Vasilevsky, Kostanov, Ishchenko, 2008, p. 286) or "Drawings of the Kamchadal lands and seas. Service Drawing book of S. Remezov and sons. The first Russian map showing the Kuril Islands and Japan lying to the south of Kamchatka" with the island designation [Ibid., p. 295]. Studying the Rukutama wand as an embodiment of space perception, we will turn it over and compare it with the outlines of Sakhalin on the " Map of the Sakhalin Peninsula by I. F. Krusenstern. 1805 " (Fig. 2) [Ibid., p. 328]. The proportions of the island and the rod are obviously identical. The same match of polygons is observed when comparing-
* The research of materials collected in libraries and museums in Japan was carried out by the author of this article in the framework of the project "Program of work of foreign researchers in the status of visiting professor of the Slavic Research Center of Hokkaido University. Sapporo. Japan. 2008 - 2009" ("Foreign Visitors Fellowship Program. 2008 - 2009" of the SRC of Hokkaido University - A Specially Appointed Professor of Hokkaido University. Slavic Research Center. Sapporo. Japan"). The Abashiri City Art Gallery and Hakodate Memorial Gallery present the work of Shoji Kimura, it is also reflected in the family archive of the artist's son Hiroki Kimura, the Abashiri City Museum and Shiretoko Museum - the Hanzawa Chu photo collection, the MINPAKU National Museum of Ethnology - the collection of ethnologist Miyamoto Kshtaro and unique books of the first half of the XX century. Yuko Yamamoto, Koichi Tamanuki, and others.
** Found in Poronaisky district, Sakhalin oblast. Aerial burial. It is kept in the Poronaisk Museum of Local Lore (Sakhalin region), Col. N 194-1.
*** A fragment of a ceramic vessel with the image of dancing women, VIII-X centuries AD, was discovered at the Promyslovoe-2 monument on the southern shore of Lake Baikal. Nevsky Prospect in the Sakhalin region by S. V. Gorbunov. It is kept in the Poronai Museum of Local Lore, Col. N 429-1500. Fragment of the corolla of a ceramic vessel with the image of dancing girls, X-XIII centuries AD, found at the site of Verkhnyaya Sannosava-1 (village of Tretyaya Pad) in the Korsakovsky district of the Sakhalin region, lifting fees of A. A. Vasilevsky, 1991. Presented in the exposition of the Archaeological Museum of Sakhalin State University, Col. 158-32.
**** An incision made by a hunter is not considered in this study.
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Fig. 1. Rukutamsky rod.
research institutes of individual zones of the island on the map and rod. We denote three main study zones on the rod: the areas of the Schmidt Peninsula, the Gulf of Patience, and the Gulf of Aniva. When superimposing a photocopy of the rod on the map of the island, it is obvious that the upper part of the horn is proportional to the outline of the Schmidt Peninsula, the middle part - to the outline of the Patience Bay (Fig. 3, 1), and the lower part - to the Aniva Bay (Fig. 3, 2). There is a slight discrepancy (see Fig. 3, 1-the shaded area on the map -scheme) is explained by the fact that the lake is located in this place. Nevskoe (a rod was found not far from here), the notch on the rod clearly follows the outline of the lake (Fig. 3, 1, a). Pay attention to the only notch on the rod (Fig. 4, 1, a), which is made with a tool oriented not perpendicular to the surface of the object, but at an angle. If you put a photocopy of the rod on the map, then the lower part of the rod will completely coincide with the lower zone of the island in the place of the notch, and the notch itself will correspond to the place of the Belt pass on the map. The notch located slightly higher will coincide with the Nikolsky Pass on the map.
It can be assumed that the shaman held the wand, turning the front side with the images from himself. When the wand was tilted over the water, all the sacred stories that, according to traditional ideas, accompanied the shaman's connection with other unearthly worlds were clearly read. Water plays an important role in sacred representations.
Consider the plot on the rod, recorded in the zone corresponding to the space between the passes on the map: here you can clearly see three significant mountain peaks. 4, 2, a). The difference in height between Ichara and Arsenyev and between Ichara and Krasnova is 71 m. These mountains can be observed if viewed from the Nikolsky Pass (i.e. from north to south); the fourth highest mountain in this projection is not visible, and the fifth is located behind the Kamyshov Mountain range of the West Sakhalin Mountains. The distances between them on the map are proportional to the distance of the mountains shown on the rod.
2. Comparison of the " Map... of I. F. Krusenstern. 1805 " (a) and the Rukutama baton (b).
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3. The main outlines of Sakhalin Island in the area of Terpeniya Bay (1) and Aniva Bay (2). a-Rukutamsky rod; b - " Map... by I. F. Krusenstern. 1805"; b-modern map-scheme.
4. The space between the Belt and Nikolsky passes (1); the designation of three significant mountain peaks between them (2). a-a fragment of the map of the Sakhalin region; b-Rukutamsky rod.
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5. Image of a walrus hunting scene in the area of the rod corresponding to Aniva Bay on the map (a); skull, tusks, teeth, and tusks of a walrus from Lake Baikal. Nevsky and from the settlement Promyslovoe-2 in the exposition of the Poronai Museum of Local Lore (b).
The next plot is a walrus (Fig. 5, a). Currently, this representative of pinnipeds is not present in the Aniva Bay. However, according to historical sources of the mid-17th century, folklore and linguistic materials, it was previously used for fishing here (Burykin, 2001). Walrus remains have been repeatedly found in the bay area [Vasilevsky, 2008, p. 58]. The museum of Poronaisk contains skulls, tusks, teeth and fangs of this mammal (VIII-X centuries), discovered near the mouth of the Nevsky Strait, on Lake Baikal. 5, b). In the exhibition of the Sakhalin Regional Museum of Local Lore in Yuzhno-Sakhalinsk, there is a petrified walrus penis with inserts of sharp obsidian plates, which was probably used as a composite tool. According to V. O. Shubin, the obsidian is most likely from Hokkaido. The tool was found in the Vida mountain range in the territory of the Smirnykhovsky and Poronaysky districts of the Sakhalin region, among the bear's ribs. Apparently, this tool was used to butcher the carcass of a bear. According to V. O. Shubin, typologically the find probably belongs to the Late Paleolithic - Early Neolithic (12-8 KA BP) [Ibid., p. 175].
In the scene of a walrus hunt in a traditional boat on a rod, uylta is shown-he is identified by modern informants-residents of Sakhalin-by the traditional metak hat (PMA, L. N. Konusova, I. G. Kurushin, I. Ya. Fedyaeva, village. Val; E. A. Bibikova, village. Nogliki; Minato Siryuko, Poronaisk, 2009). Similar images of hunting scenes can be found in other peoples. For example, in Chukchi bone carvings, a hunter is depicted throwing a harpoon from a boat; a line is tied to the harpoon, connected to an inflated skin of whole-skinned seal skin, which served as a float after the harpoon tip hits the animal. This method is used for hunting different types of marine animals on the ice (on the shore) (see: for example: [Tishkov, 2008, p. 38, 96, 101; Burykin, 2001; Pirogov, 1999]).
On the rod in the zone that corresponds to the traditional hunting sites of the Russian and Japanese populations for seal and sea lion in the Nevelsk area (Vysokov, Vasilevsky, Kostanov, and Ishchenko, 2008, p. 328), where sea lion and seal rookeries still exist today (Vasilevsky, 2008, p. 328). p. 58], there is an image of a hunter (Fig. 6, a, drawings are given in two angles). On okhotnik, the Uylta metaka is easily identified by many elderly representatives of the Uylta people (PMA, L. N. Konusova, I. G. Kurushina, I. Ya. Fedyaeva, pos. Val; E. A. Bibikova, village. Nogliki; Minato Siryuko, Poronaisk, 2009). For the traditional seal slaughter in the rookery (on the shore), he uses a spear.
Two more zones are marked on the Rukutamsky Horn, which on the map correspond to the Poronai River area and the Boat Isthmus on the Terpenia Peninsula (Fig. 7). The Uilta lived on the Poronai River for a long time (Missonova, 2006, pp. 7-9). In the corresponding place of the wand, scenes of everyday life of the southern Uylta group are depicted (Fig. 8, a). The reindeer herding site with four aundau - traditional Uylta dwellings-is clearly visible. There are also household items, boxes, a child, a dog, and a gun stand. Such a domestic scene is captured in a photograph (postcard) of these places, made in the early XX century. Hanzawa Chu [Un and Yoshikazu, 1999]*. Also shown are four
* During the Karafuto period, when South Sakhalin was part of Japan, Hanzawa Chu's photo studio was located in Shisuka, and a souvenir shop selling postcards made from photographs was located in the village. Otasu - the area where the wand was found.
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Figure 6. Image of a seal hunting scene on a rod (a); photo of the animal (b).
Fig. 7.Lake district Nevsky with the mark of the place of discovery of the rod (a) and the Boat Isthmus on the Terpeniya Peninsula (b).
8, a (three deer in the foreground, the outline of the fourth in the background) and probably a reindeer breeding family. Next to the deer are the outlines of a woman, a child (left) and a man (right). A similar scene of the life of a reindeer-breeding family is depicted on a wooden tablet brought from Sakhalin in 1895 by Lieutenant Leontovich (Ivanov, 1954, p. 388).
Special attention should be paid to the silhouette of a woman (more precisely, a woman's dress) on a rod (Fig. 8, a (figure next to deer)). Characteristic Uyltin dresses can be seen on various artifacts of Sakhalin. Consider a fragment of the corolla of a ceramic vessel with the image of dancing girls (X-XIII centuries), found at the site of Verkhnyaya Sannosava-1 (village of Tretyaya Pad) in the Sakhalin region (Fig. Of course, there is a question about the legitimacy of using this finding when comparing materials on uilta. The village of Tretyaya Pad is located in the southern part of the island, where in the second half of the XIX - beginning of the XX century Uylta did not live. However, it is not known whether this territory was a place of their nomadism in an earlier period. According to published information, in the 1980s, during the summer period, reindeer roamed the territory that is located south of 48° N, and penetrated to the Aniva Bay area [Voronov, 1998, p. 281; Eremin, 1989]. A photograph has been preserved showing deer standing next to the Aniwa Jinja Shinto Temple built in 1911-1913 in Odomari (now Korsakov) [Samarin, 2005, p.17]. If this area is suitable for the life of wild reindeer, then it is reasonable to assume that in past centuries there were sites of communities that led a reindeer-herding lifestyle. In any case, there is no doubt that the dancers depicted in ceramics and photographs of the first half of the 20th century are similar (Fig. The archaeological find shows that one edge of a woman's dress is pointed, and the other-as if flutters during movement (Fig. 9, a). Probably, a Japanese researcher captured uilta (orokov) during such a ritual dance (Tamanuki Koichi, 1944, p. 432). Uylt's ritual fire dance was female. It was the owner of the fire (hearth), for example, who was engaged in feeding the fire in the 19th and early 20th centuries (PMA, Minato Siryuko, Poronaysk, 2007; for more details, see [Missonova, 2010]). Known ritual female dance uylta meuri (PMA, I. Ya. Fedyaeva, pos. Val, 2009), which is characterized by smooth
* A team of four reindeer is typical of this people.
** Until the 1950s, it was kept in the Museum of Anthropology of the Lomonosov Moscow State University, kol. N 8 - 40.
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Figure 8. The Uilta camp, shown on the staff (a) and in the photo (b).
movement of the whole body and pelvis backwards. The performers of this dance are depicted with great accuracy on the crown of a ceramic vessel and in the photo of Tamanuki Koichi (Fig. Both in the ceramics and in the image, the dancers move counterclockwise, the height of the figures, the angle of the torso, the distance between the legs shown to the edge of the dress, the ritual headdress, the length of the dress, the turn of the dress during movement, the level of the elbows of the left and right hands, the level of the neck are proportional. The photo also shows a shaman (Fig. 9, b), "sama komuchipni, jajjejni (yayeni), a shaman beats a tambourine, sings" (PMA, E. A. Bibikova, village. Nogliki, 2009). Artefacts that depict "movement" in general and in particular "in a circle" counterclockwise are widely represented in different regions. For example, at the Sunjia settlement in Datong County in the prov. In Qinghai, in 1973, a ceramic vessel (approximately 5 thousand years old) was found with the image of a youth ritual circular dance (see: [Medvedev, 1986, p.178]).
Women moving in a circle while dancing with Uylta rattles yedopu are also shown on a fragment of a ceramic vessel of the VIII-X centuries, discovered at the Promyslovoe-2 monument (ex. uylta Tarayka settlement) on the southern coast of Lake Baikal. Nevsky Prospekt (fig. 10). There is no doubt that the Uilta used clay objects; in their language, for example, there is the word toksoma (toksomo), which means clay, made of clay (Ozolinya, 2001, p. 347).
The bear is one of the iconic animals of Uylt. On the rod, it is shown in a place that corresponds on the map to the area between the tributaries of the two largest rivers of Sakhalin - Poronai and Tym (see Fig. Both tributaries (Longari and Gromov tributaries) originate on the slopes of Vodorazdelnaya (height 1428 m). Between the rivers Poronai and Tym were the main places of nomadic Uylta, for example, in the XIX-XX centuries. Here the rivers flow in opposite directions (to the south and north), according to mythology this is the crossroads of two worlds.
9. Fragment of the corolla of a ceramic vessel with the image of dancing girls found at the Verkhnyaya Sannosava-1 parking lot in the Sakhalin region (a); photo of uylta (Oroks) performing a fire dance, taken in the area of the rod discovery (Tamanuki Koichi, 1944, p. 432) (b).
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Fig. 10. Fragment of a ceramic vessel of the VIII-X centuries with figures of dancing women with rattles from the Promyslovoe-2 monument on the southern shore of Lake Baikal. Nevsky (a); fragment of the painting " Dance of Fire "("Tawa pakkini"), carved from the skin of chum salmon in the workshop of the Uylta family farm V. V. Osipova, village. Nogliki, 2009 (b); rattles of edopu by the modern Uylta craftswoman E. A. Bibikova, village. Nogliki, 2007 (in). Photo by the author.
There are two famous uilta bear festivals: gupuri (hupuri) and huriatsi (huriuachi). The first one was observed in summer, if a bear was killed, and the second one, the main one, in winter or early spring (Pilsudsky, 1989, p. 62; Ozolinya, 2010, p. 160). "Long ago in the old days, the ulta, after killing a bear, held a bear festival (halan-da goropchidu ul'ta bej ombo vapissah, hurach-chukkil bicci)", " arranging a bear festival, people were invited from other villages (hurachila-pissah goj gasanda narilba narrokkilil bicci)". The rod shows poles for tying a ritual bear at a bear festival (Fig. 11). In the Uilta language, they were called tude or ledunga [Comparative Dictionary..., 1975, vol. 1, p. 496; Ozolinya, 2001, p. 161, 354, 171]. B. Pilsudski describes the ritual tude poles with forked ends as follows: "The bear is tied to two fork-shaped poles dug into the ground... At the top, ilyau (ritual shavings) are tied to them" [1989, p. 58]. Huriatsi (huriuachi) was accompanied by joint eating of bear meat, deer racing, national wrestling and games [Ibid., p. 57, 62; Ozolinya, 2010, p. 162].
The theme of conjugation of death and rebirth among the Tunguses is revealed in the myth of the first bear (Ermolova, 2007, p. 124). The bear gave people the necessary tools and, sacrificing himself, taught them how to use them: entering the river, he disappeared in it (drowned). The river, having taken the bear to the world of the dead, gave in exchange the basics of human life.
In Tunguska mythology, in one of the variants, the universe was depicted as a certain mythical river, called by the Evenks Engdekit - "the place of complete disappearance" [Ermolova, 2010, p. 152-153]. This river united all three levels of the universe into a single cosmic space. It began in the Upper World, located in the east, and flowed first to the west, and then to the north, where it emptied into the underground sea. There was the world of the dead - Buni (translated from the Uilta language - the place of death). This mythical representation is accurately reflected on the rod (see Figure 1, lower half). According to N. V. Ermolova [Ibid., p. 142-151], A. F. Anisimov [1958, p. 60-61], and G. M. Vasilevich [1969, p. 245-247], it is characteristic of the Evenks of the Podkamennaya Tunguska basin and the territory between the Yenisei and Lena, as well as for some Olekminsk and Ural rivers. trans-Baikal groups of Evenks.
Consider the figures of a man and a dog depicted on the horn in the place corresponding to the map
Figure 11. Ritual bear at a bear festival (Poronai Museum of Local Lore; a), image of a cult animal on a rod (drawing; b).
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12. The image of the "creator" on the rod (a); the Patience peninsula on the satellite image (b); the image of a dog near the "creator" on the rod (c); photos of the Amur laika (Abramov, 1940) and Akita dogs (d).
Patience Peninsula and the lake district. 7). It is interesting that when superimposing a photo of the Patience Peninsula taken from space [Satellite map...] on the image on the rod, the outlines of the human head and neck completely coincide with the boundaries of Lake Baikal. 12, a, b). Moreover, the island marked on the map in the lake corresponds to the image of a person's nose on a baton (Fig. 12, b). According to Tunguska mythology, in the middle of the journey to the Lower World, a shaman rests on a" shamanic " island [Ermolova, 2010, p. 143]. The dog depicted on the rod (Fig. 12, c), according to V. E. Raskin, president of the Akita Inu Cynological Club (Moscow), belongs to the Japanese akita by its main characteristics (Fig. 12, d) [Cynological Club...12, d)or Sakhalin karafutoken.
When comparing in detail the outline of Patience Peninsula on the map and the silhouette of a person on a rod, you can see that the lines at the feet correspond to stony places on the map (Fig. 12, a). To understand whose image is embodied in the human figure, let's turn to the Tungus-Manchu mythology [Myths..., 1988, vol. 2, p. 533]. According to an ancient version of the Evenki creation myth, in the beginning there was only water and two brothers (according to another version, two birds; see Figure 12, b (to the right of the head)). The younger brother took out some dirt from the bottom and placed it on the surface of the water, then sat down and fell asleep. The elder brother began to pull the earth out from under him and stretched it so much that it turned into a large earth. Then the younger brother began to make images of people and animals useful to man out of clay and stone, and the older brother - animals harmful to man. The younger one had a dog (variants: raven, bear), which, in the absence of the "creator", was supposed to guard the statues made by him, so that they would not be seen by the older brother. But one day the guardian, succumbing to temptations, showed his older brother the master's creations. The elder gave the statues various diseases or broke them. Returning, the younger brother punished the assistant and continued his work, having completed it, went to heaven. As an intermediary between people and himself, he left the raven (bear). And the older brother went underground. Later shamans named their younger brother Savaki and their older brother hargi. Thus, we can say that the rod depicts the Creator of the World.
Let us turn to the image of a supposedly shamanic bird on a staff (Fig. Similar bird figures of the Tungus-Manchu peoples decorate shamanic headdresses (Fig. Images of such birds are found on the shamanic tambourine of uylta dali (Fig. 13, b). The prototype of the mythical bird could be a kaira (Fig.13, d, e*).
* Sketch of Kimura Shoji (kept in the artist's personal archive, now with the artist's son Hiroki Kimura), created in 1938 on Otasu, now Poronai district of the Sakhalin region, where the rod was found. According to traditional ideas, "when souls fly away, they turn into birds" (PMA, I. Ya. Fedyaeva, pos. Val, 2009).
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13. Image of the kori bird on the staff (a), on the outer side of the shamanic tambourine of the Oroks of Sakhalin (Ivanov, 1954, p. 389) (b), on the shamanic headdress of the nyurkha ungiptu of the Nanai people (Ostrovsky, 2009, p. 16) (c), photo of the kaira on Tyuleniy Island, taken by N. G. Pirogov (Poronai Museum of Local Lore), fragment of a painting by Kimura Shoji, 1938 (Kimura Shoji House Museum; d).
Uylt's mythical bird was called kori, or kor. In the mythology of the Orochi, this was the name of an iron bird, which has wings in the form of sabers and a tail shaped like a spear for hunting a bear. This is the shaman's assistant spirit, the eagle. According to the Orok (Uilta) and Nanai ideas, the kori bird lives in the afterlife, and the shaman transports the souls of the dead on it [Comparative Dictionary..., 1975, vol. 1, p. 415; Ozolinya, 2010, p. 161]. In addition, the kori bird was the patron saint of the Torisha family. "The genus Torisia is patronized by the large bird kori, which, if it began to fly, would completely cover the sun" (Pilsudski, 1989, p. 14). It is logical to assume that the bird, as the patron saint of the clan (often an eagle), was also depicted on the tambourines of Uyltin shamans. In addition, the Uilta, Negidalians, Ulchi and Nanai people have kor-a room in the form of a log cabin for keeping a bear, as well as a cage for a bird. In the Ulchi language, this word means a tomb [Comparative Dictionary..., 1975, vol. 1, p. 415]. The images of a bird and a bear are equally sacred. For uilta (oroks), kori is both a large bird with iron plumage, a cage for a bear, and a log house for a dead person (Pilsudsky, 1989, p.14, 52; Ozolinya, 2010, p. 161-162). In addition, the Uilta language has the word shikatoro, which means a devil bird (with bear legs) or a devil in the form of a huge bird (Pilsudski, 1989, p. 49; Ozolinja, 2010, p.164).
Conclusions
The Rukutama wand artfully presents all the main subjects of the sacred world. Vital areas and positions of the Sakhalin Island space are the following: the Rukutama, Poronai, Tym Rivers, the Mythical River, the Reed Ridge of the West Sakhalin Mountains, Schmidt Peninsula, Patience Peninsula, Patience Bay, Aniva Bay, Lake Baikal. Boat Lake, chum dwelling, deer, seal, walrus, sea fishing, dog, bear, ritual fire dance, mythical bird kori, clay vessel.
When considering all the sacred territories that the developed territories became, the places of settlement of the Uylta ethnic community in previous centuries are determined. This suggests that this community has long developed a large area of the island, including areas of residence in the XIX-XXI centuries. It is absolutely clear that in the past, the Uilt reindeer herding lifestyle was combined with hunting and sea fishing much more closely than at present. Deer were the main means of transportation and space exploration.
The knowledge of the island's territory that is necessary for survival, which is embodied in the images on the Rukatam rod, indicates a very long-standing migration of this community to Sakhalin (further study of archaeological, historical and ethnological materials is necessary to determine the date). At the same time, the display of the perception of sacred space on the rod clearly proves that the ancestors of this small - numbered people moved to the island, absorbing numerous elements of the culture of North Asia, or rather, Tungus-Manchurian. This means that a long way of learning all aspects of this culture and communicating with representatives of individual communities was passed: Nanais, Ulchi, Negidals, Orochi. The perception of the Uylta sacredness finds particularly clear correspondences in the Evenk mythology, which indicates the common origin of the two communities. In continuation of the topic of this research, the author suggests considering the topic of multi-dimensionality on the pages of the journal
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spaces in the worldview and art of the Tungus-Manchurian small ethnic community of Sakhalin Island.
List of literature
Abramov K. G. Commercial husky of the Amur region. Khabarovsk: Dalgiz Publ., 1940, 40 p.
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The article was submitted to the Editorial Board on 14.02.11.
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