Art History

О СОСТАВЕ КЕРАМИЧЕСКИХ КОМПЛЕКСОВ ТРИПОЛЬСКИХ ПАМЯТНИКОВ (по материалам поселений среднего Трипояья) При изучении группировки памятников и выяснении их относи тельной хронологии керамика выступает ярким покааателем разли чий и сходства хровологического И локаяьного порядка. При перио дизации культуры возможны рааличные подходы к использоваиию керамического материала. Один из них основав на классификации керамики исследуемых памятников в совокупности, с дальнейшим соотнесением выделенных группировок с. этими памятниками. Он

The questions of pottery technology seem to be an independent theme in studying the Neolithic and Chalcolithic cultures. Such studies can be used not only for reconstruction of the manufacturing process or palaeoeconomic researches. The changes in technology can also reflect the intracultural development and local differentiation ensured in the presence of different manufacturing traditions. The present research deals with relief and painted ornaments of the Cucuteni-Tripolye culture in the Carpatian-Dnieper region and changes of decoration technique during the middle period of this culture: Tripolye BI, BII and Cucuteni A, A-B stages (3650-3000 BC in uncalibrated dates).

The article explores the so-called “technical decoration” of Tripolye-Cucuteni ceramics (4th–3rd millennia BC) – designs originating from the decoration or surface of nonceramic receptacles or from constructive details that lost their original function. Various types of technical decoration were used at all stages of the culture. During the earlyand early middle periods (Tripolye A–BI), the double snake motif coexisted with patterns derived from wooden, wicker,and woven artifacts. Also, throughout the Tripolye period, handles, having lost their function, evolved into decorative patterns. “Technical decoration” was quite common, which contradicts the idea that Tripolye patterns were proto- pictographic signs.

"Binocular" and "monocular" items are the specific category of Tripolye-Cucuteni ware. They are composed of one, two or even three hollow tubes joined by 1-3 jumpers. According to its construction it can ,have wooden prototypes. They could be used for ritual practice and that is why it is one of the most traditional and stabilized ware: the best "marker" for local and chronological indicators. The genesis of this category passes over the classic stage of Tripolye-Cucuteni from the end of formational period (Tripolye A - Precucuteni Ill) to the degradation of culture during the last Tripolye Cl - Cucuteni B3 phases. During the first period of its development (Tripolye BI – Cucuteni A) "monocular" and "binocular" ware distributed into two areas, "western" (Carpathians and Romanian Moldova) and "eastern" (Moldova and the Ukraine), included into the whole territory of culture. This areas were "connected" by interactive zone and answer the areas where dominated painted or relief pottery decoration.
Specific types of "binocular" items can mark the contacts of populations of various local variants of Tripolye-Cucuteni culture. The disappearing of "monocular" items in "western" area during Tripolye Bll - Cucuteni A-B period and the expansion there the north-eastern traditions of "binocular" items. The derivates of archaic models conserved in eastern skirts of Tripolian area. During the last stage of its development (Tripolye Cl – Cucuteni B) "binocular" items changed it functions. There were two new details of its construction (vertical hole in higher jumper and relative hole or lug in central jumper) that testify the change of 'binoculars' using. Last period of "binoculars" evolution is also describes by the decrease 0/ "binoculars" proportion in ceramic assemblages (from under 10% during Tripolye Bl to 1-2 % during Cl period). The analogies to "monocular" items (so named "supports" or "sacrificial pedestals") were prevalent in Old World cultures from Predynastic Egypt to Yang-Shao in China and in Balkans reach even I millennia BC. They may reflect the diffusion of ideas across the early agriculturalists world but it is the subject for following structural analysis.

// Piesele "în-formă-de-binoclu" din cultura Tripolie-Cucuteni: experienţa cercetării categoriei obiectelor "de cult", Piesele în formă de binoclu şi monoclu reprezintăuna. două sau trei tuburi ceramice, unite prin intermediul al-3 bare (numite şi punţi) dispuse orizontal şi vertical. După un şir de particularităţi. pentru o astfel de construcţie sunt posibile prototipuri de lemn. Constituind o formă ceramică tradiţională şi stabilă, ele puteau fi utilizate În practica rituală şi sunt printre cei mai buni "marcatori" cronologiei şi spaţiali ai monumentelor. Evoluţia lor are loc în perioada" c1asică" a culturii Tripolie-Cucuteni, Începând cu sfârşitul perioadei de formare (Tripolie A - Precucuteni III) până la Începutul degradării treptate a pieselor în discuţie către sfârşitul etapei Tripolie CI - Cucuteni B3. În perioada de Început a răspândirii lor (Tripolie BI- Cucuteni A) piesele “monoclu” sau “binoclu” sunt specifice pentru două zone - "vestică" (Prikarpatia şi Moldova românească) şi "estică" (interjluviul Prut-Nistru şi Ukraina de la vest de Nipru). Tipurile intermediare relevă contactelepurtătorilordiferitor tradiţii. În intervalul Tripolie BII- Cucuteni A-Bformele" binoclu" se răspândesc În Întreg arealul culturii. Pentru perioada Tripolie CI - Cucuteni B se constată schimbarea funcţiilor lor (orificiul vertical În bara de legătură - pentru agăţare sau fixare pe axă) şi degradeazăforma (se schimbă proporţiile, se reduce numărulpunţilor). În complexele tripoliene târzii (CII) ele lipsesc. Analogiipentru piesele înformă de monoclu se Întâlnesc Într-un şir întreg de culturi ale agricultorilor Lumii Vechi, de la Egiptul antic până la lan-Saa din China antică. În Balcani piese similare continuăsă circulepână În mileniul 1i.e.n. Însă suporturile-; binoclu" cuplate se întâlnesc numai În Tripolie, ceea ce reprezintă interpretarea lor deosebitădrept" suporturi rituale'' anume În această cultură de agricultori timpurii.

The paper is devoted to the interpretation of the Tripolye-Cucuteni culture pottery designs. In the last decades the abstract-geometric ornamental motifs were often treated on the basis of subjective associations as images of a «moon-faced Goddess», «World egg», «shells», etc. Various ethnographic analogies, usually rather distant from the material under study, were used to reconstruct the meaning of the designs.
Within the framework of the «structural-semiotic approach» the ornament is analyzed as a «sign system» or «proto-writing», where each element or motif is supposed to bear a particular meaning. However, the careful analysis of the dynamics inherent
in the development of ornamental motifs shows, that such interpretations lack solid grounds. Most signs prove to be elements of «technical design» (marking-out). The construction of ornaments mostly proceeds by way of dividing ornamental fields, not by creating sequemnces of signs like it is done in texts. What was meaningful was the ornament taken as such, as an integrated whole, and not its elements. Ethnographic evidence shows, that even the interpretation of identical ornamental figures may vary considerably within the same society. This is confirmed by the author’s observations on the variation of the Tripolye designs. They seem to have no unambiguous «reading». The main directions of future research lie in the realm of paleoethnological and paleoculturological studies, where ornamental designs are regarded as specific markers, reflecting reflecting changes in ethnic composition and social structure of past societies, and bearing information about contacts between representatives of different groups

Учебное пособие посвящено культурам, которые сложились и развивались на территории Европы в VII-III тыс. до н. э. Носители этих культур заложили основы европейской цивилизации, привнесли в эту часть света начатки земледелия, скотоводства, домостроительства и возвели первые монументальные культовые сооружения. Развитие так называемых "обществ балканского типа" и окружающих их культур сопровождалось невиданным доселе расцветом металлургии, созданием своеобразных образцов культовой антропоморфной и зооморфной пластики, распространением в быту богато орнаментированной полихромией керамики.
В книге представлены основные разновидности памятников искусства европейских раннеземледельческих культур, а также варианты их интерпретации. Издание снабжено богатым иллюстративным материалом, хронологическими таблицами и картами.

Предназначено для широкого круга читателей, рекомендуется в качестве учебного пособия для студентов искусствоведческих специальностей вузов

Palaguta I.V. Art World of Early Farmers in Europe. Cultures of the Balkan-Carpathian Range in VII-III millennia BC

Книга посвящена ярким и самобытным культурам древнейших земледельцев, населявших территорию Европы в VII–III тыс. до н.э. Их носители были не только творцами «аграрной революции», но и создателями памятников первой архитектуры — жилищ, оборонительных и культовых сооружений, многочисленных произведений мелкой антропоморфной и зооморфной пластики, первых образцов ювелирных изделий из металлов, ярких образцов орнаментального искусства. В основу работы легло исследование особенностей памятников искусства и архитектуры раннеземледельческой эпохи, принципов и закономерностей сложения художественных форм, рассмотрение их как продукта реальной жизни древних обществ. Книга предназначена для широкого круга читателей, студентов вузов и специалистов в области истории, культурологии, искусствоведения, этнологии и археологии

"Summary
In1991 in of three Cucuteni-Tripolye sites, which belong to the Cucuteni A-B Tripolye BI—BII stage (according to N. M. Vinogradova) were surveyed in the vicinity of the village of Draganesti of the Synjereia region of the Republic Moldova. A large amount of materials were collected and one open test pit was laid at each of the sites. Their dimensions were 3 x 2 m and 2 x 2 m.
The materials of the Draganesti Valea-Ungureanului site can be attributed to the early Cucuteni A-B/I, Tripolye BI—BII or to the Solonceni II transition stage, having the most archaic features. Two other sites Draganesti-Curtea Boiereasca and Draganesti-Valea Panzari belond to the Cucuteni A-B/2 stage. One more site, situated in the same zone, Draganesti-Livada can be dated within the same period.
An interesting collection of ceramic objects, clay figurines and other articles, made of bone and flint, was compiled on the above sites.
"

Etnoarhaeology provides ample opportunity to study various aspects of the prehistoric pottery production. Etnoarheological data are necessary to create adequate reconstruction in the areas of studies on techniques and technologies of pottery making, as well as the interpretation of ornaments, and for modeling the process of ceramic usage and its accumulation in settlement layers, distribution of pottery, and of the development and interactions of ceramic traditions in homogeneous or heterogeneous ethnic environment. The paper presents parallels between the results of ethnographic observations and the results of using similar approaches in the studies of archaeological assemblages.

The article considers the main streams of ornament evolution of Tripolye-Cucuteni culture belonging to the circle of «the cultures of painted pottery» of the South-Eastern Europe Chalcolithic (the 4th - 3rd millennium BC). In the base of the Tripolye-Cucuteni pottery decorum originally a composition of two «snakes» curled towards each other was put. Further development of ornamental compositions was determined by following conditions: 1) schematization of their basic elements; 2) increasing of decorative function owing to the entering of additional elements; 3) a «reversibility» of design, when parts of ornament background begin to be interpreted as decorative figures. Such transformations of the Tripolye-Cucuteni decorum evidence the changes in ornaments treatment by their own producers as well as the substantial role in their development of not so much a semiotic aspect which was often brought to minimum because of a mechanic, serial copying of a sample as an aesthetic factor.

Palaguta I.V. Problems of studying spiral ornaments of the Tripolye ceramics // Stratum plus. 2, 1999. P. 148-159.
The article is devoted to the research of spiral ornaments of the Cucuteni-Tripolye culture.
The pointed lines of the ornaments development allow to confirm that ornamental schemes of the Tripolye ceramics develop on the basis of initial composition which consists of snakes' images. Beginning with the Tripolye Bl - Cucuteni A period significant changes occur in the main scheme which gradually loses its initial meaning. Changes in the design technology have taken the important part of it.
"Reading" of those ornaments could be hardly done because of the decorating art. Various levels of stylization and repetition, rhythm of the ornamental motives initially open possibilities to interpret the pictures in a rather free way.
The typological research of the design is the most perspective as it opens wide possibilities to study relative chronology and local peculiarities of the Cucuteni-Tripolye monuments.