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Ilia Palaguta

Saint-Petersburg Stieglitz State Academy of Art and Design, Art History, Faculty Member

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Ilia Palaguta

CURRENT POSITION:
Institution: Saint-Petersburg Stieglitz State Academy of Art and Design, Art History Department
Professional position: Professor, Head of Art History department
Address: 191028, Solyanoj pereulok 13, Saint Petersburg, RF

EDUCATION:
University education: Moscow State University, Historical department, 1988–1993
Additional: Management in educational sector, 2018; Art Theory and Art History, 2019

ACADEMIC DEGREES:
— Doctor Habilitat (Doctor of Historical Sciences), 2012
Doctorate: Peter the Great Museum of Anthropology and Ethnography (the Kunstkamera) RAS, Saint-Petersburg.
Specialty: Ethnography, Ethnology, Anthropology
— PhD: Institute of History of Material Culture RAS, Saint-Petersburg. Specialty: Archaeology

ACADEMIC TITLE:
Associate Professor of Art History, 2009

FIELDS OF RESEARCH, SCIENTIFIC INTERESTS:
— Art History
— Archaeology
— Cultural and Social Anthropology

TEACHING AND FACULTY EXPERIENCE
Since 2007/08 — present time
— Saint-Petersburg Stieglitz State Academy of Art and Design, Art History Department, professor
2003–2016
— Saint-Petersburg University of Humanities and Social Sciences

Lecture courses (SPbUHSS, SPbSSAAD)
— Prehistoric and Traditional Art
— The Basics of Archaeology
— Western European Art of the Middle Ages
— Art History (basic course) etc.

Guest and Public Lectures
2015, 2017 — Universität Regensburg
2024 — Yunnan Arts University

Grants, Scholarships, and Awards:
2016 — Narodowe Centrum Nauki, Polska, SONATA BIS 5, UMO-2015/18/E/HS3/00754 «Mikroregion Skarpy Dobużańskiej jako część fizjograficznego i biokulturowego pogranicza między strefą bałtycką i pontyjską (od VI do II tysiąclecia przed Chrystusem» (as consultant);
2011–2013 — Russian Foundation for Basic Research (RFBR) 11-06-00441, “Dynamics of Centralization – Decentralization of the Traditional Sociopolitical Systems of the Old and New World (A Study of Archaeological, Historical, and Ethnographic Data)”
2020 — RFBR 19-112-50079, "Studies on Ornament: main directions and perspectives"
Supervisors: Kozhin P.M.

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Sofia University "St. Kliment Ohridski"

Татяна Кънчева-Русева

National Institute of Archaeology and Museum, Bulgarian Academy of Sciences

Henrieta Todorova

National Institute of Archaeology and Museum, Bulgarian Academy of Sciences

Валери Григоров

National Institute of Archaeology and Museum, Bulgarian Academy of Sciences

Ivan Suvandzhiev

University of Veliko Tarnovo, Bulgaria

Kamen Boyadziev

National Institute of Archaeology and Museum, Bulgarian Academy of Sciences

Małgorzata Gębska-Kulow

Bulgarian National Academy of Arts

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Books by Ilia Palaguta

Палагута И.В. Трипольская культура в начале развитого периода (BI): Относительная хронология и локальные варианты памятников. Киев: «Видавець Олег Фiлюк», 2016. 410 с.

ISBN 978-617-7122-36-3, 2016

Книгу можно приобрести у издателя https://www.facebook.com/OlegFiluk

Палагута И.В. Мир искусства древних земледельцев Европы. Культуры балкано-карпатского круга в VII–III тыс. до н.э. СПб.: Алетейя, 2012. 336 с.

ISBN 978-5-91419-437-3, 2012

Palaguta I.V. Art World of Early Farmers in Europe. Cultures of the Balkan-Carpathian Range in VI... more 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

Palaguta I. Tripolye Culture during the Beginning of the Middle Period (BI): The relative chronology and local grouping of sites / British Archaeological Reports, International Series, 1666. Oxford: Hadrian Books, 2007. 182 p.

ISBN 978 1 4073 0070 2, 2007

Full text

Палагута И.В. Искусство Древней Европы: Эпоха ранних земледельцев (VII–III тыс. до н.э.). Учебное пособие. СПб: СПбГУП, 2007. 200 с.

ISBN 978-5-7621-0148-6

Учебное пособие посвящено культурам, которые сложились и развивались на территории Европы в VII-I... more 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

Book chapters by Ilia Palaguta

Palaguta I. Ornament: Power, Expression, Technology. Where is the meaning? // Pots as media: Decoration, technology, and message transmission. Ed. by Vesna Bikić and Jasna Vuković. Belgrade: University of Belgrade, Institute of Archaeology, 2024. P. 11–28

ISBN 978-86-6427-300-8; 978-86-6439-098-9, 2024

Consideration of a ceramic vessel as media, from the point of view of the message that the author... more Consideration of a ceramic vessel as media, from the point of view of the message that the author of the product puts into its shape and decoration, requires us to consider the issue from a much broader perspective and inevitably leads us to the need of addressing to or a number of fundamental theoretical issues: the development of definitions of ‘ornament’ and ‘décor’; consideration of the ornament in the context of other fields of art; determination of the main approaches to the studies of ornament and its interdisciplinary studies; the origin of ornamental forms and the main directions of their development; their interpretation by both ancient and modern viewers, etc...

Palaguta I. The Structure of Archaeological and Functional Ceramic Assemblages of Cucuteni-Tripolye Sites: Precucuteni, Cucuteni A – Tripolye A, BI Periods // Pottery Function and Use: A Diachronic Perspective. Ed. by J. Vuković, V. Bikić. Belgrade: University of Belgrade, 2022. P. 279–299

ISBN 978-86-6427-219-3 , 978-86-6439-068-2, 2022

Palaguta I. Small plastic Art of the Balkan-Carpathian Neolithic and Copper Age: forms, contexts and interpretations // Mobile Images of the ancestral bodies. A millennial/thousand-years perspective from Iberia to Europe. Vol. I. Madrid: Comunidad de Madrid, 2021. P. 119–147.

ISBN Vol I: 978-84-451-3937-0, 2021

Full text

Palaguta I. Studies on anthropomorphic images of the Balkan-Carpathian early agricultural cultures: some methodological aspects // Eternitatea Arheologiei. Studii în onoarea profesorului Dumitru Boghian la a 65-a aniversare. Cluj-Napoca: Editura Mega, 2020. P. 169–190

ISBN 978-606-020-278-3, 2020

Palaguta I. Studies on anthropomorphic images of the Balkan-Carpathian early agricultural culture... more Palaguta I. Studies on anthropomorphic images of the Balkan-Carpathian early agricultural cultures: some methodological aspects // Eternitatea Arheologiei. Studii în onoarea profesorului Dumitru Boghian la a 65-a aniversare (ed. A. Melniciuc, B.P. Niculică, S. Ignătescu, S.-C. Enea). Cluj-Napoca: Editura Mega, 2020. P. 169–190

Abstract: The article analyzes the principal approaches to the studies of the terracotta figurines from the Balkan-Carpathian cultures of the Neolithic and the Copper Age (VII-III millennia BC): anthropomorphic and zoomorphic statuettes and various miniatures representing houses, furnishings, utensils, weapons and tools. As previously suggested by R. Lesure (2011), these approaches can be defined as universalism and contextualism. The first proposes the interpretation of the figurines within the framework of the external anthropological concepts and religious studies, the other one is based on the empirical studies and the analysis of the specific archeological and cultural contexts. While the first one seems beneath serious criticism, the second one implies that research algorithms and strategies should be established, based on the analysis of the material at various levels: its location in the cultural layer of the site, the place of the phenomenon within the context of the paleo-demographic and paleo-social reconstructions, the framework of workable analogies. The feasibility of such reconstructions is informed by the definition of culture as a form of the humans’ adaptation to the natural and social environment, and of art as a media technology that perpetuates the existence of the community

Palaguta I. La plástica de pequeño formato del Neolítico y Edad del Bronce en los Balcanes y Cárpatos: formas, contextos e interpretaciones // Idolos. Miradas milenarias. Ed. P. Bueno Ramírez y J.A. Soler Díaz. Alicante: Museo Arqueológico de Alicante, 2020. P. 93–113

ISBN 978-84-09-17935-0, 2020

Full text

Palaguta I.V., Starkova E.G. Problems of the relative chronology of the Tripolye-Cucuteni and neighbouring cultures in the Balkan-Carpathian area: 14C dates and archaeological materials // Principles and Methods of Dating in Archaeology. St. Petersburg: IHMC RAS, 2018. P. 97–123.

by Ilia Palaguta and Elena Starkova

ISBN 978-5-907053-09-0, 2018

One of the most important problems in studies of the Neolithic and Eneolithic periods in Europe i... more One of the most important problems in studies of the Neolithic and Eneolithic periods in Europe is that of the synchronization of archaeological cultures and particular sites. The timeframes of Pre-Cucuteni/Cucuteni А — Tripolye A/BI have been defined by 14C dating as 5050–4600 and 4600–4100 cal BC. These dates correspond to the Varna and Gumelniţa cultures and have been proved by series of corresponding ceramic imports and imitations. There were no such contacts after this timeframe, probably because of the extinction of the Varna and Gumelniţa cultures. The topical problem concerning the period under consideration is that of synchronization of these cultures with finds from the Middle-Danubian and West-Balkan sites. The hypothesis about Tiszapolgár influences upon Cucuteni А — Tripolye BI ceramics has not been confirmed by facts. On the contrary, a series of specific ornaments on the pottery of Tripolye BI/2 — Cucuteni А4 shows an influence of Tisza–Herpály–Csőszhalom cultural group of the Tisza basin (4840/4830–4600/4560 cal BC). Moreover, the interconnection between the Tripolye-Cucuteni and Vinča cultures still remains unclear. Quite a number of questions have been proposed concerning the synchronization of the Middle-Danubian cultures with the later sites of Tripolye BI–BII, BII, CI — Cucuteni A–B, B periods (4100–3800 and 3600–3200 cal BC). Findings of analyses of ceramic imports and their imitations indicate that Tripolye BII settlements of the Upper Dniester and Volhynian Upland are synchronous to the classical phase of the Lublin-Volhynian culture (3900–3800/3700 cal BC) and to the later (Rzeszów) phase of the Malice culture (about 4100/3900 cal BC). Finds of large unornamented vessels with numerous handles along the entire heigh of their bodies among the Tripolye assemblages are considered to be the main evidence on the Tripolye-Cucuteni contacts with the Tiszapolgár and Bodrogkeresztúr cultures (4500–3700 and 3900–3500 cal BC). Meanwhile, pottery of this kind was widespread since the earliest period of the Tripolye-Cucuteni culture and these finds may quite possibly have just been local archaic forms which survived in later assemblages.
Thus, the question of synchronization of the Cucuteni А–В — Tripolye BI–BII period with the cultures mentioned above still remains open. Along with the necessity to search for new evidence allowing us a to establish substantial synchronization between these cultures, the irregular development of local groups of artefacts within the area of Tripolye and specifics of the contacts at the boundaries between different cultures should also be taken into account

Palaguta I.V., Mitina M.N. On the problem of interpretation of the Neolithic anthropomorphic clay sculpture: figurine sets — their structure, functions and analogies // Anthropomorphism and symbolic behaviour in the Neolithic and Copper Age communities of S-E Europe. Suceava, 2014. P. 275–301

ISBN 978-606-93638-4-3, 2014

The problem of an anthropomorphic statuettes interpretation is the most actual in the studies on ... more The problem of an anthropomorphic statuettes interpretation is the most actual in the studies on the European Neolithic Art (7000–3000 BC). Over the ХХ century the interpretation of such pieces of art was mainly based on antecedent concept of ties between statuettes and fertility cults and also perceptions about Great Goddess. The failure of speculative hypotheses initiated the search for new areas of research, particularly, in the studies on the figurines iconography and on their place in the social and cultural context.
From this perspective, the most informative are ‘closed’ assemblages, which represents by sets of figurines. In the article two of such sets analyzed, that were found in the settlements of the early period of Cucuteni-Tripolye culture: Poduri and Isaia in Romania. Both sets were found in vessels, and included 21 seated statuettes, differing in size, shape and decorations, and 13 miniature chairs. The analysis of the statuettes iconography shows that the kits includes 6 male and 7 female figurines, seated on 13 chairs, and 8 figures without chairs (female and of uncertain sex). They designated one group of personages that organized on the hierarchical principle, similar to the hierarchy of social groups. Such sets were used in other settlements of this period. Such figurine sets were regularly reproduced during about 400 years when bearers of Tripolye-Cucuteni tradition settled on a large area to the east of the Carpathians.
In conditions of differentiation of groups and development of new territories, figurines sets might represent the group of ancestors, common to the whole population. Functions of the sets can be defined in the field of ancestor worship and their application in the initiations and/or in mantic practices is also possible. Discontinuation of such sets associated with changes in ideology on the next stage of culture development.
The cult of ancestors and ancestor’s images in various forms are represented in the world anthropology and they are important part of spiritual culture of traditional societies. An analysis of antique, particularly Roman material gives close structural analogies to the European statuettes of the Neolithic Age. In extant texts is mentioned the whole group of gods associated with house and family: Genii Familiae, Lares Familiares et Compitales, Penates. As suppose the number of researchers, cults of such gods date back to honor of family or community ancestors. The iconography’s research of “household” gods shows tie between Lares and house. Figurines and images of Lares are usual placed on “Lararium” (hovel, often framed by a portico) a kind of house model. Some features of Lares and Penates cult and it’s iconography give base to draw a parallel between Lares and Penates and certain groups of the early-agriculturalist statuettes, which can be interpreted as character’s images connected with ancestor’s cult — either a direct ancestors or general mythology ancestors of ethnic group.

Палагута И.В. Первобытное искусство в контексте современного искусствознания // В кн.: Современное искусствоведение в системе гуманитарного знания (под ред. А.В. Карпова). СПб.: СПбГУП, 2012. С. 17–31.

ISBN 978-5-7621-0683-2, 2012

Papers by Ilia Palaguta

Усманова Э.Р., Захаров С.В., Палагута И.В., Мерц В.К., Плешаков А.А. Орнаментированные фаланги животных на поселениях ботайской культуры: археологический контекст, особенности декора и интерпретация // Материалы по археологии и истории античного и средневекового Причерноморья, № KZ01, 2024. С. 7–36

Emma Usmanova, Sergey Zakharov, Ilya Palaguta, Victor Merts, Anatoly Pleshakov ORNAMENTED PHALAN... more Emma Usmanova, Sergey Zakharov, Ilya Palaguta, Victor Merts, Anatoly Pleshakov
ORNAMENTED PHALANX BONES OF ANIMALS AT SETTLEMENTS OF THE BOTAI CULTURE: ARCHAEOLOGICAL CONTEXT, DECORATION SPECIFICS AND INTERPRETATION
Finds of ornamented phalanx bones of horses and other ungulates are typical for the Eneolithic cultures of Eurasian steppes. The collection of ornamented fetlock bones, mainly of horses (less commonly, of kulan and saiga) from the Botai culture settlements of Botai and Krasny Yar I (North Kazakhstan Oblast, Kazakhstan) includes 78 items. It is the largest series of ornamented phalanges known in the materials of Eurasian antiquities. The assumption that they represent a distinctive type of anthropomorphic figurines, has been repeatedly expressed earlier. The Botai settlement is unique in terms of the abundance of osteological material: 99% belonging to horses. The life of the “Botai people” was closely connected with horse population of the forest-steppe region. The phalanx bone of a hoofed animal, stable in vertical position, resembles by its shape an anthropomorphic figurine. A phalanx was processed before applying decoration. Planographic analysis of the finds indicates their ubiquitous presence in the living space of the Botai settlement. Perhaps, they played the role of idols-charms that protected the living space, and/or in some ways represented the relationship between a man and a horse.

Palaguta I. ‘Sculpture of Small Forms’ in Prehistoric art: approaches to research and interpretation // Memoria Antiqitatis. Acta Musei Petrodavensis. XXXIX (2023). In memoriam Dr. Dan Monah (1943-2013). Piatra-Neamț: Muzeului de Istorie și Arheologie Piatra-Neamț, 2024. P. 67–84

The study of anthropomorphic figurines of the Neolithic and Copper Ages has long required the dev... more The study of anthropomorphic figurines of the Neolithic and Copper Ages has long required the development of a methodology based on a system of evidence. Otherwise, we will always be faced with interpretations that have the character of ‘anecdotical explanations’ and with attempts to construct universal schemes. The nature of Prehistoric Art is not much different from the modern art we are familiar with, if we consider art as a communication technology that forms a system of connections and social institutions, and objects of art as intermediaries in this communication. The differences will only be in the degree of preservation of materials and the availability of comments from performers and contemporaries, as well as at the level of development of technology and organization of the social environment. Therefore, objects of prehistoric art can be successfully considered in the context of art studies, where the methodology is based on the sequence: formal study-iconography-iconology. In the interpretation of archaeological finds, beside the archaeological typology, reconstruction of the archaeological and social context, as well as the correct use of structural analogies, play an important role.

Palaguta I. Some remarks on studies of Prehistoric craft production from the perspective of Gottfried Semper’s ideas // Praehistorische Zeitschrift, vol. 99, no. 3, 2024. P. 1095–1107

The approach developed by Gottfried Semper in the mid-19th century seems to be quite productive f... more The approach developed by Gottfried Semper in the mid-19th century seems to be quite productive for studying the evolution of forms and decoration of objects of material culture. Based on the relationship between the properties of materials and technologies, it formed the basis of modern design practices. The use of this approach makes it possible to explain many phenomena, particularly, the emergence of skeuomorphic forms of ornament (so-called ‘technical ornament’), and also to expand our understanding of materials and technologies that have not reached our time. The reconstruction of non-preserved elements of culture can be complemented by studies on their visual representation in fine art. The principle of development of material culture can also be represented as a movement from the archetype to the material embodiment of ideas, which is possible at the corresponding level of technological development.

Карпов А.В., Палагута И.В. Чудо Рождества — 2023. Невозможное — возможно // Terra Artis. Искусство и дизайн. 2023. № 4. С. 128–132

Старкова Е.Г., Палагута И.В. Раннетрипольское поселение Берново-Лука: небольшие ремарки к дипломной работе Н.К. Качаловой // Археология Восточно-Европейской степи. Вып. 19. Саратов: Саратовский государственный университет им. Н.Г. Чернышевского, 2023. С. 27–49

by Elena Starkova and Ilia Palaguta

Starkova E.G., Palaguta I.V. EARLY TRYPILLYA SETTLEMENT BERNOVO-LUKA: SOME REMARKS TO THE GRADU... more Starkova E.G., Palaguta I.V.
EARLY TRYPILLYA SETTLEMENT BERNOVO-LUKA:
SOME REMARKS TO THE GRADUATE WORK OF H.K. KACHALOVA
Her scientific research N.K. Kachalova began by studying materials from the early Trypillya settlement Bernovo-Luka, which became the subject of her graduate work in 1955. Currently, the collection collected during the excavation of this site is stored in the State Hermitage. The article presents individual observations on the ceramic assemblage and anthropomorphic figurines. These are studies of carbon deposit on ceramics, which make it possible to determine the function of vessels; analysis of a set of symmetries presented in ornaments (significant differences from later periods were revealed); reconstruction of a number of ceramic forms; attribution of imported pottery from the Gumelniţa culture. The anthropomorphic statuettes from Bernovo-Luka most likely differ in function, but some of them could be part of sets of female and male figurines, which may have depicted a group of real or mythical ancestors.
Keywords: Early Trypillya, ceramic assemblage, anthropomorphic figurines

Palaguta I. Cucuteni-Trypillya: Ceramic Assemblage, Periodization, Cultural Development. Some General Reflection // Revista Arheologică, serie nouă, vol. XIX, nr. 1, 2023. P. 30–45

Кукутень-Трипольe: керамический комплекс, периодизация, развитие культуры. Некоторые общие размыш... more Кукутень-Трипольe: керамический комплекс, периодизация, развитие культуры. Некоторые общие размышления

Исследования культуры Кукутень-Трипольe в последние десятилетия приобрели более многоплановый характер, когда для изучения феномена этой культуры стало возможным задействовать потенциал целого ряда европейских археологических школ. Отдельные аспекты развития этой культуры остаются дискуссионными. Автор представляет к обсуждению ряд вопросов, касающихся дальнейшей разработки ее периодизации, анализа керамических комплексов, интерпретации памятников изобразительного искусства и социальных реконструкций

Палагута И.В. Орнамент в декоративно-прикладном искусстве и архитектуре: в поиске теоретических ориентиров // Terra Artis. Искусство и дизайн. 2023. № 2. С. 102–123

I.V. Palaguta ORNAMENT IN DECORATIVE AND APPLIED ARTS AND ARCHITECTURE: IN SEARCH OF THEORETICAL... more I.V. Palaguta
ORNAMENT IN DECORATIVE AND APPLIED ARTS AND ARCHITECTURE: IN SEARCH OF THEORETICAL GUIDELINES
In ornament studies, there is a need to “dot the i’s and cross the t’s”: to clarify the terminology utilised, to identify the main directions of ornament research more clearly, and to base research on the real capabilities of the material rather than on imaginary premises. The widely used terms ornament and decor are not interchangeable, the essential characteristic of ornament is its rhythmic organisation. The original forms of ornamental motifs can be various: either geometric, mostly derived from the “technical ornament”, or figurative. At the same time, even interpretation of similar motifs can vary and be based on free associations. Thus, assumptions about the deep antiquity of ornamental forms and their meanings have no solid grounds. Ornament has nothing to do with writing and text. While the study of the semantics of ornament is significantly limited by the specifics of its artistic form, the studies of symmetry provide grounds for identifying the connection between it and social changes (Washburn 2018). The connection between decor and social changes is also obvious, and there also are certain prospects for its identification

Карпов А.В., Палагута И.В. Чудо Рождества — 2022. Теплый свет надежды // Terra Artis. Искусство и дизайн. 2022. № 4. С. 165–166

by TERRA ARTIS. Art and Design. Scientific Journal, Ilia Palaguta, and Aleksandr V . Karpov

THE MIRACLE OF CHRISTMAS 2022. THE WARM LIGHT OF HOPE 27 декабря 2022 года в Выборгском государст... more THE MIRACLE OF CHRISTMAS 2022. THE WARM LIGHT OF HOPE
27 декабря 2022 года в Выборгском государственном объединенном музее-заповеднике состоялось открытие очередной выставки из серии «Чудо Рождества», представляющей 87 работ художников из Санкт-Петербургской государственной художественно-промышленной академии
имени А.Л. Штиглица

Палагута И.В. Трипольская культура в начале развитого периода (BI): Относительная хронология и локальные варианты памятников. Киев: «Видавець Олег Фiлюк», 2016. 410 с.

ISBN 978-617-7122-36-3, 2016

Книгу можно приобрести у издателя https://www.facebook.com/OlegFiluk

Палагута И.В. Мир искусства древних земледельцев Европы. Культуры балкано-карпатского круга в VII–III тыс. до н.э. СПб.: Алетейя, 2012. 336 с.

ISBN 978-5-91419-437-3, 2012

Palaguta I.V. Art World of Early Farmers in Europe. Cultures of the Balkan-Carpathian Range in VI... more 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

Palaguta I. Tripolye Culture during the Beginning of the Middle Period (BI): The relative chronology and local grouping of sites / British Archaeological Reports, International Series, 1666. Oxford: Hadrian Books, 2007. 182 p.

ISBN 978 1 4073 0070 2, 2007

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Палагута И.В. Искусство Древней Европы: Эпоха ранних земледельцев (VII–III тыс. до н.э.). Учебное пособие. СПб: СПбГУП, 2007. 200 с.

ISBN 978-5-7621-0148-6

Учебное пособие посвящено культурам, которые сложились и развивались на территории Европы в VII-I... more 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. Ornament: Power, Expression, Technology. Where is the meaning? // Pots as media: Decoration, technology, and message transmission. Ed. by Vesna Bikić and Jasna Vuković. Belgrade: University of Belgrade, Institute of Archaeology, 2024. P. 11–28

ISBN 978-86-6427-300-8; 978-86-6439-098-9, 2024

Consideration of a ceramic vessel as media, from the point of view of the message that the author... more Consideration of a ceramic vessel as media, from the point of view of the message that the author of the product puts into its shape and decoration, requires us to consider the issue from a much broader perspective and inevitably leads us to the need of addressing to or a number of fundamental theoretical issues: the development of definitions of ‘ornament’ and ‘décor’; consideration of the ornament in the context of other fields of art; determination of the main approaches to the studies of ornament and its interdisciplinary studies; the origin of ornamental forms and the main directions of their development; their interpretation by both ancient and modern viewers, etc...

Palaguta I. The Structure of Archaeological and Functional Ceramic Assemblages of Cucuteni-Tripolye Sites: Precucuteni, Cucuteni A – Tripolye A, BI Periods // Pottery Function and Use: A Diachronic Perspective. Ed. by J. Vuković, V. Bikić. Belgrade: University of Belgrade, 2022. P. 279–299

ISBN 978-86-6427-219-3 , 978-86-6439-068-2, 2022

Palaguta I. Small plastic Art of the Balkan-Carpathian Neolithic and Copper Age: forms, contexts and interpretations // Mobile Images of the ancestral bodies. A millennial/thousand-years perspective from Iberia to Europe. Vol. I. Madrid: Comunidad de Madrid, 2021. P. 119–147.

ISBN Vol I: 978-84-451-3937-0, 2021

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Palaguta I. Studies on anthropomorphic images of the Balkan-Carpathian early agricultural cultures: some methodological aspects // Eternitatea Arheologiei. Studii în onoarea profesorului Dumitru Boghian la a 65-a aniversare. Cluj-Napoca: Editura Mega, 2020. P. 169–190

ISBN 978-606-020-278-3, 2020

Palaguta I. Studies on anthropomorphic images of the Balkan-Carpathian early agricultural culture... more Palaguta I. Studies on anthropomorphic images of the Balkan-Carpathian early agricultural cultures: some methodological aspects // Eternitatea Arheologiei. Studii în onoarea profesorului Dumitru Boghian la a 65-a aniversare (ed. A. Melniciuc, B.P. Niculică, S. Ignătescu, S.-C. Enea). Cluj-Napoca: Editura Mega, 2020. P. 169–190

Abstract: The article analyzes the principal approaches to the studies of the terracotta figurines from the Balkan-Carpathian cultures of the Neolithic and the Copper Age (VII-III millennia BC): anthropomorphic and zoomorphic statuettes and various miniatures representing houses, furnishings, utensils, weapons and tools. As previously suggested by R. Lesure (2011), these approaches can be defined as universalism and contextualism. The first proposes the interpretation of the figurines within the framework of the external anthropological concepts and religious studies, the other one is based on the empirical studies and the analysis of the specific archeological and cultural contexts. While the first one seems beneath serious criticism, the second one implies that research algorithms and strategies should be established, based on the analysis of the material at various levels: its location in the cultural layer of the site, the place of the phenomenon within the context of the paleo-demographic and paleo-social reconstructions, the framework of workable analogies. The feasibility of such reconstructions is informed by the definition of culture as a form of the humans’ adaptation to the natural and social environment, and of art as a media technology that perpetuates the existence of the community

Palaguta I. La plástica de pequeño formato del Neolítico y Edad del Bronce en los Balcanes y Cárpatos: formas, contextos e interpretaciones // Idolos. Miradas milenarias. Ed. P. Bueno Ramírez y J.A. Soler Díaz. Alicante: Museo Arqueológico de Alicante, 2020. P. 93–113

ISBN 978-84-09-17935-0, 2020

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Palaguta I.V., Starkova E.G. Problems of the relative chronology of the Tripolye-Cucuteni and neighbouring cultures in the Balkan-Carpathian area: 14C dates and archaeological materials // Principles and Methods of Dating in Archaeology. St. Petersburg: IHMC RAS, 2018. P. 97–123.

by Ilia Palaguta and Elena Starkova

ISBN 978-5-907053-09-0, 2018

One of the most important problems in studies of the Neolithic and Eneolithic periods in Europe i... more One of the most important problems in studies of the Neolithic and Eneolithic periods in Europe is that of the synchronization of archaeological cultures and particular sites. The timeframes of Pre-Cucuteni/Cucuteni А — Tripolye A/BI have been defined by 14C dating as 5050–4600 and 4600–4100 cal BC. These dates correspond to the Varna and Gumelniţa cultures and have been proved by series of corresponding ceramic imports and imitations. There were no such contacts after this timeframe, probably because of the extinction of the Varna and Gumelniţa cultures. The topical problem concerning the period under consideration is that of synchronization of these cultures with finds from the Middle-Danubian and West-Balkan sites. The hypothesis about Tiszapolgár influences upon Cucuteni А — Tripolye BI ceramics has not been confirmed by facts. On the contrary, a series of specific ornaments on the pottery of Tripolye BI/2 — Cucuteni А4 shows an influence of Tisza–Herpály–Csőszhalom cultural group of the Tisza basin (4840/4830–4600/4560 cal BC). Moreover, the interconnection between the Tripolye-Cucuteni and Vinča cultures still remains unclear. Quite a number of questions have been proposed concerning the synchronization of the Middle-Danubian cultures with the later sites of Tripolye BI–BII, BII, CI — Cucuteni A–B, B periods (4100–3800 and 3600–3200 cal BC). Findings of analyses of ceramic imports and their imitations indicate that Tripolye BII settlements of the Upper Dniester and Volhynian Upland are synchronous to the classical phase of the Lublin-Volhynian culture (3900–3800/3700 cal BC) and to the later (Rzeszów) phase of the Malice culture (about 4100/3900 cal BC). Finds of large unornamented vessels with numerous handles along the entire heigh of their bodies among the Tripolye assemblages are considered to be the main evidence on the Tripolye-Cucuteni contacts with the Tiszapolgár and Bodrogkeresztúr cultures (4500–3700 and 3900–3500 cal BC). Meanwhile, pottery of this kind was widespread since the earliest period of the Tripolye-Cucuteni culture and these finds may quite possibly have just been local archaic forms which survived in later assemblages.
Thus, the question of synchronization of the Cucuteni А–В — Tripolye BI–BII period with the cultures mentioned above still remains open. Along with the necessity to search for new evidence allowing us a to establish substantial synchronization between these cultures, the irregular development of local groups of artefacts within the area of Tripolye and specifics of the contacts at the boundaries between different cultures should also be taken into account

Palaguta I.V., Mitina M.N. On the problem of interpretation of the Neolithic anthropomorphic clay sculpture: figurine sets — their structure, functions and analogies // Anthropomorphism and symbolic behaviour in the Neolithic and Copper Age communities of S-E Europe. Suceava, 2014. P. 275–301

ISBN 978-606-93638-4-3, 2014

The problem of an anthropomorphic statuettes interpretation is the most actual in the studies on ... more The problem of an anthropomorphic statuettes interpretation is the most actual in the studies on the European Neolithic Art (7000–3000 BC). Over the ХХ century the interpretation of such pieces of art was mainly based on antecedent concept of ties between statuettes and fertility cults and also perceptions about Great Goddess. The failure of speculative hypotheses initiated the search for new areas of research, particularly, in the studies on the figurines iconography and on their place in the social and cultural context.
From this perspective, the most informative are ‘closed’ assemblages, which represents by sets of figurines. In the article two of such sets analyzed, that were found in the settlements of the early period of Cucuteni-Tripolye culture: Poduri and Isaia in Romania. Both sets were found in vessels, and included 21 seated statuettes, differing in size, shape and decorations, and 13 miniature chairs. The analysis of the statuettes iconography shows that the kits includes 6 male and 7 female figurines, seated on 13 chairs, and 8 figures without chairs (female and of uncertain sex). They designated one group of personages that organized on the hierarchical principle, similar to the hierarchy of social groups. Such sets were used in other settlements of this period. Such figurine sets were regularly reproduced during about 400 years when bearers of Tripolye-Cucuteni tradition settled on a large area to the east of the Carpathians.
In conditions of differentiation of groups and development of new territories, figurines sets might represent the group of ancestors, common to the whole population. Functions of the sets can be defined in the field of ancestor worship and their application in the initiations and/or in mantic practices is also possible. Discontinuation of such sets associated with changes in ideology on the next stage of culture development.
The cult of ancestors and ancestor’s images in various forms are represented in the world anthropology and they are important part of spiritual culture of traditional societies. An analysis of antique, particularly Roman material gives close structural analogies to the European statuettes of the Neolithic Age. In extant texts is mentioned the whole group of gods associated with house and family: Genii Familiae, Lares Familiares et Compitales, Penates. As suppose the number of researchers, cults of such gods date back to honor of family or community ancestors. The iconography’s research of “household” gods shows tie between Lares and house. Figurines and images of Lares are usual placed on “Lararium” (hovel, often framed by a portico) a kind of house model. Some features of Lares and Penates cult and it’s iconography give base to draw a parallel between Lares and Penates and certain groups of the early-agriculturalist statuettes, which can be interpreted as character’s images connected with ancestor’s cult — either a direct ancestors or general mythology ancestors of ethnic group.

Палагута И.В. Первобытное искусство в контексте современного искусствознания // В кн.: Современное искусствоведение в системе гуманитарного знания (под ред. А.В. Карпова). СПб.: СПбГУП, 2012. С. 17–31.

ISBN 978-5-7621-0683-2, 2012

Усманова Э.Р., Захаров С.В., Палагута И.В., Мерц В.К., Плешаков А.А. Орнаментированные фаланги животных на поселениях ботайской культуры: археологический контекст, особенности декора и интерпретация // Материалы по археологии и истории античного и средневекового Причерноморья, № KZ01, 2024. С. 7–36

Emma Usmanova, Sergey Zakharov, Ilya Palaguta, Victor Merts, Anatoly Pleshakov ORNAMENTED PHALAN... more Emma Usmanova, Sergey Zakharov, Ilya Palaguta, Victor Merts, Anatoly Pleshakov
ORNAMENTED PHALANX BONES OF ANIMALS AT SETTLEMENTS OF THE BOTAI CULTURE: ARCHAEOLOGICAL CONTEXT, DECORATION SPECIFICS AND INTERPRETATION
Finds of ornamented phalanx bones of horses and other ungulates are typical for the Eneolithic cultures of Eurasian steppes. The collection of ornamented fetlock bones, mainly of horses (less commonly, of kulan and saiga) from the Botai culture settlements of Botai and Krasny Yar I (North Kazakhstan Oblast, Kazakhstan) includes 78 items. It is the largest series of ornamented phalanges known in the materials of Eurasian antiquities. The assumption that they represent a distinctive type of anthropomorphic figurines, has been repeatedly expressed earlier. The Botai settlement is unique in terms of the abundance of osteological material: 99% belonging to horses. The life of the “Botai people” was closely connected with horse population of the forest-steppe region. The phalanx bone of a hoofed animal, stable in vertical position, resembles by its shape an anthropomorphic figurine. A phalanx was processed before applying decoration. Planographic analysis of the finds indicates their ubiquitous presence in the living space of the Botai settlement. Perhaps, they played the role of idols-charms that protected the living space, and/or in some ways represented the relationship between a man and a horse.

Palaguta I. ‘Sculpture of Small Forms’ in Prehistoric art: approaches to research and interpretation // Memoria Antiqitatis. Acta Musei Petrodavensis. XXXIX (2023). In memoriam Dr. Dan Monah (1943-2013). Piatra-Neamț: Muzeului de Istorie și Arheologie Piatra-Neamț, 2024. P. 67–84

The study of anthropomorphic figurines of the Neolithic and Copper Ages has long required the dev... more The study of anthropomorphic figurines of the Neolithic and Copper Ages has long required the development of a methodology based on a system of evidence. Otherwise, we will always be faced with interpretations that have the character of ‘anecdotical explanations’ and with attempts to construct universal schemes. The nature of Prehistoric Art is not much different from the modern art we are familiar with, if we consider art as a communication technology that forms a system of connections and social institutions, and objects of art as intermediaries in this communication. The differences will only be in the degree of preservation of materials and the availability of comments from performers and contemporaries, as well as at the level of development of technology and organization of the social environment. Therefore, objects of prehistoric art can be successfully considered in the context of art studies, where the methodology is based on the sequence: formal study-iconography-iconology. In the interpretation of archaeological finds, beside the archaeological typology, reconstruction of the archaeological and social context, as well as the correct use of structural analogies, play an important role.

Palaguta I. Some remarks on studies of Prehistoric craft production from the perspective of Gottfried Semper’s ideas // Praehistorische Zeitschrift, vol. 99, no. 3, 2024. P. 1095–1107

The approach developed by Gottfried Semper in the mid-19th century seems to be quite productive f... more The approach developed by Gottfried Semper in the mid-19th century seems to be quite productive for studying the evolution of forms and decoration of objects of material culture. Based on the relationship between the properties of materials and technologies, it formed the basis of modern design practices. The use of this approach makes it possible to explain many phenomena, particularly, the emergence of skeuomorphic forms of ornament (so-called ‘technical ornament’), and also to expand our understanding of materials and technologies that have not reached our time. The reconstruction of non-preserved elements of culture can be complemented by studies on their visual representation in fine art. The principle of development of material culture can also be represented as a movement from the archetype to the material embodiment of ideas, which is possible at the corresponding level of technological development.

Карпов А.В., Палагута И.В. Чудо Рождества — 2023. Невозможное — возможно // Terra Artis. Искусство и дизайн. 2023. № 4. С. 128–132

Старкова Е.Г., Палагута И.В. Раннетрипольское поселение Берново-Лука: небольшие ремарки к дипломной работе Н.К. Качаловой // Археология Восточно-Европейской степи. Вып. 19. Саратов: Саратовский государственный университет им. Н.Г. Чернышевского, 2023. С. 27–49

by Elena Starkova and Ilia Palaguta

Starkova E.G., Palaguta I.V. EARLY TRYPILLYA SETTLEMENT BERNOVO-LUKA: SOME REMARKS TO THE GRADU... more Starkova E.G., Palaguta I.V.
EARLY TRYPILLYA SETTLEMENT BERNOVO-LUKA:
SOME REMARKS TO THE GRADUATE WORK OF H.K. KACHALOVA
Her scientific research N.K. Kachalova began by studying materials from the early Trypillya settlement Bernovo-Luka, which became the subject of her graduate work in 1955. Currently, the collection collected during the excavation of this site is stored in the State Hermitage. The article presents individual observations on the ceramic assemblage and anthropomorphic figurines. These are studies of carbon deposit on ceramics, which make it possible to determine the function of vessels; analysis of a set of symmetries presented in ornaments (significant differences from later periods were revealed); reconstruction of a number of ceramic forms; attribution of imported pottery from the Gumelniţa culture. The anthropomorphic statuettes from Bernovo-Luka most likely differ in function, but some of them could be part of sets of female and male figurines, which may have depicted a group of real or mythical ancestors.
Keywords: Early Trypillya, ceramic assemblage, anthropomorphic figurines

Palaguta I. Cucuteni-Trypillya: Ceramic Assemblage, Periodization, Cultural Development. Some General Reflection // Revista Arheologică, serie nouă, vol. XIX, nr. 1, 2023. P. 30–45

Кукутень-Трипольe: керамический комплекс, периодизация, развитие культуры. Некоторые общие размыш... more Кукутень-Трипольe: керамический комплекс, периодизация, развитие культуры. Некоторые общие размышления

Исследования культуры Кукутень-Трипольe в последние десятилетия приобрели более многоплановый характер, когда для изучения феномена этой культуры стало возможным задействовать потенциал целого ряда европейских археологических школ. Отдельные аспекты развития этой культуры остаются дискуссионными. Автор представляет к обсуждению ряд вопросов, касающихся дальнейшей разработки ее периодизации, анализа керамических комплексов, интерпретации памятников изобразительного искусства и социальных реконструкций

Палагута И.В. Орнамент в декоративно-прикладном искусстве и архитектуре: в поиске теоретических ориентиров // Terra Artis. Искусство и дизайн. 2023. № 2. С. 102–123

I.V. Palaguta ORNAMENT IN DECORATIVE AND APPLIED ARTS AND ARCHITECTURE: IN SEARCH OF THEORETICAL... more I.V. Palaguta
ORNAMENT IN DECORATIVE AND APPLIED ARTS AND ARCHITECTURE: IN SEARCH OF THEORETICAL GUIDELINES
In ornament studies, there is a need to “dot the i’s and cross the t’s”: to clarify the terminology utilised, to identify the main directions of ornament research more clearly, and to base research on the real capabilities of the material rather than on imaginary premises. The widely used terms ornament and decor are not interchangeable, the essential characteristic of ornament is its rhythmic organisation. The original forms of ornamental motifs can be various: either geometric, mostly derived from the “technical ornament”, or figurative. At the same time, even interpretation of similar motifs can vary and be based on free associations. Thus, assumptions about the deep antiquity of ornamental forms and their meanings have no solid grounds. Ornament has nothing to do with writing and text. While the study of the semantics of ornament is significantly limited by the specifics of its artistic form, the studies of symmetry provide grounds for identifying the connection between it and social changes (Washburn 2018). The connection between decor and social changes is also obvious, and there also are certain prospects for its identification

Карпов А.В., Палагута И.В. Чудо Рождества — 2022. Теплый свет надежды // Terra Artis. Искусство и дизайн. 2022. № 4. С. 165–166

by TERRA ARTIS. Art and Design. Scientific Journal, Ilia Palaguta, and Aleksandr V . Karpov

THE MIRACLE OF CHRISTMAS 2022. THE WARM LIGHT OF HOPE 27 декабря 2022 года в Выборгском государст... more THE MIRACLE OF CHRISTMAS 2022. THE WARM LIGHT OF HOPE
27 декабря 2022 года в Выборгском государственном объединенном музее-заповеднике состоялось открытие очередной выставки из серии «Чудо Рождества», представляющей 87 работ художников из Санкт-Петербургской государственной художественно-промышленной академии
имени А.Л. Штиглица

I.V. Palaguta. Problems of the genesis of abstract and naturalistic forms in prehistoric art: artistic form and social context

by Camera Praehistorica Journal and Ilia Palaguta

Camera Praehistorica, 2022

The problem of the development of abstract forms in art and their coexistence with naturalistic f... more The problem of the development of abstract forms in art and their coexistence with naturalistic forms is one of the key ones in Art History. In Prehistoric art, as in the art of other eras, these forms often coexist even within the same cultural space. Their occurrence is due to a number of factors, the disclosure of which allows us to reconstruct the characteristics of a particular culture more correctly. An important role among these factors is played by social factors that form the need of society for naturalistic forms of art. If in the visual arts shaping develops from giving the object a similarity, then this principle does not work in the ornament. Ornament is a separate art form, where rhythm, meter and symmetry play the main role. In addition, here abstract forms are often due to “technical ornamentation”.

Палагута И.В. Проблемы генезиса абстрактных и натуралистических форм в доисторическом искусстве: художественная форма и социальный контекст // Camera praehistorica. 2022. № 2 (9). С. 52–63

Palaguta I.V. Problems of the genesis of abstract and naturalistic forms in prehistoric art: arti... more Palaguta I.V. Problems of the genesis of abstract and naturalistic forms in prehistoric art: artistic form and social context. Camera praehistorica. 2022, no. 2 (9), рр. 52–63.

The problem of the development of abstract forms in art and their coexistence with naturalistic forms is one of the key ones in Art History. In Prehistoric art, as in the art of other eras, these forms often coexist even within the same cultural space. Their occurrence is due to a number of factors, the disclosure of which allows us to reconstruct the characteristics of a particular culture more correctly. An important role among these factors is played by social factors that form the need of society for naturalistic forms of art. If in the visual arts shaping develops from giving the object a similarity, then this principle does not work in the ornament. Ornament is a separate art form, where rhythm, meter and symmetry play the main role. In addition, here abstract forms are often due to “technical ornamentation”.

Хлопачев Г.А., Палагута И.В. Пятые Замятнинские чтения. Абстрактные формы в древнем и современном изобразительном искусстве и орнаменте. Междисциплинарный диалог: археология-этнография-искусствоведение // Camera Praehistorica. №1. 2022. С. 138–141

х р о н и к а г. а. х ло П ач е в музей антропологии и этнографии им. Петра великого (кунсткамера... more

Palaguta I., Starkova E. Eastern LBK pottery: some observations on production techniques and the symmetrical structure of ornaments (Floreşti and Niezwiska) // Sprawozdania Archeologiczne 73/1, 2021. P. 251–267

by Ilia Palaguta and Elena Starkova

Eastern LBK pottery: some observations on production techniques and the symmetrical structure of ornaments (Floreşti and Niezwiska), 2021

There are two collections that are stored in Saint Petersburg originating from the first LBK site... more There are two collections that are stored in Saint Petersburg originating from the first LBK sites (Floreşti I and Niezwiska) investigated in the USSR during the 1950-60s by Tatiana Passek and Katerina Chernysh. Despite the incompleteness of this material, it allows us to make several observations regarding technical aspects of pottery production and its ornamentation. The production of LBK vessels is based on a coiling with subsequent forming by the "paddle-and-anvil" technique. Principal distinctions between production techniques make it possible to exclude the idea of links between the LBK and the subsequent Precucuteni-Tripolye A culture. The specifics of the forms and techniques of LBK ornamentation allows to propose that such ornamentation originates from non-ceramic prototypes. Additionally, the symmetrical analysis of Eastern LBK ornamentation indicates differences in symmetry preferences between the LBK and Cucuteni-Tripolye populations. According to the hypothesis of D. K. Washburn (2018), such a difference may indicate distinctions in the social structures of these cultures.

Палагута И.В. Чудо Рождества — 2021: Звезды над Выборгом // Terra artis. Искусство и дизайн. 2021. № 4. С. 192–193

by TERRA ARTIS. Art and Design. Scientific Journal and Ilia Palaguta

Зимой 2021 года в Выборгском государственном объединенном музее-заповеднике состоялась очередная ... more Зимой 2021 года в Выборгском государственном объединенном музее-заповеднике состоялась очередная выставка из серии «Чудо Рождества», представляющая работы художников из Санкт-Петербургской государственной художественно-промышленной академии им. А.Л. Штиглица. Выставка была открыта в День Св. Люсии, 17 декабря, который ежегодно отмечают в средневековом замке. Она продлилась все новогодние праздники и завершилась
в середине февраля

Палагута И., Старкова Е. О структуре археологического и функционального керамического комплексов Кукутени-Триполья // Revista Arheologică, SN, vol. XVII, nr. 2, 2021, p. 18–36

by Ilia Palaguta and Elena Starkova

О структуре археологического и функционального керамического комплексов Кукутень-Триполья, 2021

Ceramics is the most widespread archaeological material, therefore, changes in the vessels’ shape... more Ceramics is the most widespread archaeological material, therefore, changes in the vessels’ shapes and decoration became the basis for the establishing of relative chronology and identification of the local groups of sites of the most Prehistoric cultures.
In addition to such an applied study of pottery, there is a need for a more detailed study of archaeological and functional assemblages as an independent phenomenon closely related to other technologies and to the changes in the economic and household sphere. The set of vessel shapes of the Tripolye-Cucuteni culture is diverse, including up to 8-12 varieties. It was formed already at an earliest stage in the development of the culture (Tripolye A-Precucuteni), and retained its main features during the subsequent development of the culture (Tripolye BI, BII, CI – Cucuteni A, A-B, B periods). But a number of forms and categories of pottery have undergone significant changes. The ratio of certain vessel’s forms largely depends on the “use-life” of certain types of vessels and the characteristics of the formation of the cultural layer in a particular settlement

Палагута И.В. Павел Михайлович Кожин — штрихи к портрету Учителя // Труды Маргианской археологической экспедиции. Т. 8. Москва: Старый Сад, 2021. С. 29–44

Pavel M. Kozhin – strokes for the portrait of the teacher, 2021

Palaguta I.V. Pavel M. Kozhin – strokes for the portrait of the teacher The range of scientific i... more Palaguta I.V. Pavel M. Kozhin – strokes for the portrait of the teacher
The range of scientific interests of Pavel Kozhin (1934–2016) was quite wide. His books, articles, notes related both to various areas of history, culture, religion of China, where he was recognized as one of the best specialists in Russia, but also to archeology and ethnography, covering the problems of studying ancient ceramics and other industries, ornament, reconstruction of the processes of ethnogenesis and cultural genesis etc. The essay also considers important remarks of P.M. Kozhin regarding the development of art, as well as a number of his views on the global problems of mankind.

Палагута И.В. Поселения-гиганты Триполья-Кукутень: проблемы и перспективы новейших исследований // Археологические вести. 2021. Вып. 32. С. 402–415

Поселения-гиганты Триполья-Кукутень: проблемы и перспективы новейших исследований, 2021

Аннотация. В статье представлен обзор новейших исследований поселений-гигантов трипольской культу... more Аннотация. В статье представлен обзор новейших исследований поселений-гигантов трипольской культуры, развивавшейся на юге Восточной Европы в V-IV тыс. до н. э. Рассмотрены результаты магнитометрической съемки и ее интерпретаций, а также предложенные реконструкции последовательности формирования этих памятников. Проведен критический анализ предложенных концепций, в частности гипотезы о поселениях-гигантах как «местах паломничества»; отмечены отдельные характерные черты искусства этого периода Триполья.
Annotation. This paper is a review of the most recent investigations of the giant-settlements of the Tripolye culture which was developing in the south of East Europe in the 5 th-4 th millennium BC. Results of magnetometric surveys and their interpretations are considered, as well as the hypothetic reconstructions of the sequence of formation of these sites. Critical analysis was conducted on the proposed concepts, including the hypothesis about the giant-settlements as 'places of pilgrimage'; particular characteristic features of the art of this period of Tripolye are presented.

Palaguta I. Studies of Ornament: Main Trends and Prospects // Вестник СПбГУ. Искусствоведение. 2020. Т. 10. Вып. 4. С. 571–585 (in English)

The analysis of the ornament is the key issue in the studies of the applied decorative art. Never... more The analysis of the ornament is the key issue in the studies of the applied decorative art. Nevertheless , the principal points pertaining to the nature of ornament, its expressivity, semantics, compositional principles and cultural value, have only been covered intermittently. This is primarily due to the disengagement of the various academic fields involved in the studies of ornament: art history, cultural anthropology, ethnography, archeology, etc. It seems important to synthesize the methods and approaches as well as set up the basis for developing the general principles for the studies of ornament, that would take into account all its various aspects. The definition of ornament through its decorative function does not encompass its essential features: rhythm, meter, and symmetry. Ornament can be considered as a strategy of visualizing rhythm and can be regarded as a specific art form. Apart from the formal trend, based on systematization of ornaments, the approaches to ornament as the basis of ethnocultural reconstructions play a prominent part. Studies concerning the semantics of ornament offer a whole range of opinions, but the widespread notion that ornament is a set of signs and symbols calls for a critical reappraisal. At the same time, ornament plays an important part in the process of intercultural and intracultural communications on the level of signal and index, being a special kind of "art-rhythm". The interdisciplinary approach opens a much broader range of ideas concerning the options for studying ornaments and offers solutions for subsequent research. One of the most promising possibilities is the comprehensive and cross-cultural analysis of ornament as the element of a communication system, based on the search for the links between the development of the ornamental traditions and styles as well as the developments in the other spheres of human culture.
Keywords: ornament, theory of ornament, history of ornament, definition of ornament, ornament in archeology, ornament in ethnography, symmetry in ornament.

Палагута И.В. Карбунский клад: возвращение к нерешенным проблемам // Лев Клейн. [Путеводитель]: Сборник статей памяти Льва Самуиловича Клейна. Отв. ред. Е.И. Матяш, М.Т. Кашуба. Санкт-Петербург: ИИМК РАН, 2020. С. 81–87

Калашникова Н.М., Палагута И.В. Л.С. Клейн об искусстве // Лев Клейн. [Путеводитель]: Сборник статей памяти Льва Самуиловича Клейна. Отв. ред. Е.И. Матяш, М.Т. Кашуба. Санкт-Петербург: ИИМК РАН, 2020. С. 159–164

Палагута И.В. Орнаменты керамики Триполья–Кукутени: некоторые наблюдения над способами построения композиции // Camera Praehistorica, №1 (4), 2020. С. 76–92

ORNAMENTS OF TRIPOLYE–CUCUTENI CERAMICS: SOME OBSERVATIONS ON THE COMPOSITION AND THE SEQUENCE OF... more ORNAMENTS OF TRIPOLYE–CUCUTENI CERAMICS: SOME OBSERVATIONS ON THE COMPOSITION AND THE SEQUENCE OF ITS PERFORMING

In the study of ornaments, an important role is played not only by the set of decorative elements and motifs used, but also by the ways of their organization in the space of the ornamental feld that were made according to certain rules. This is the use of certain types of symmetry or ornament’s construction by desymmetrization, as well as the hierarchy of dominates and additional elements, a certain sequence of their application. The ways of ornaments’ constructing are considered on the examples of Tripolye–Cucuteni pottery. This archaeological culture was developed on the territory of modern Romania, Moldova and Ukraine during the Copper age period (ca 5000–3000 BC) by analyzing the sequence of fulfillment of painted polychrome decoration on vessels found in Zhura settlement of the Dniester region, it was demonstrated that similar ornamental patterns could be applied in various ways. by analyzing the sequence of fulfillment of painted polychrome decoration on vessels found in Zhura settlement of the Dniester region, it was demonstrated that similar ornamental patterns could be applied in various ways. The presence of vessels with ornaments made in diﬀerent traditions can be interpreted both in terms of the chronological diﬀerences between the dwelling assemblages, of by their making by various craftsmen. During comparing with the ethnographic analogies, the question was raised about the ancient craftsmen’s motivation for choosing certain motifs and elements in the process of making ornaments, as well as about the stability of their meaning

Палагута И.В., Старкова Е.Г. Орнаменты керамики культуры Кукутень-Триполье: связь формы, декора и его технологий в эволюционной перспективе // Древняя керамика Евразии: от сосуда к культуре: Материалы конференции (Санкт-Петербург, 13–15 мая 2024 г.). СПб.: ИИМК РАН, 2024. С. 83–84

by Ilia Palaguta and Elena Starkova

ORNAMENTS OF THE CUCUTENI-TRYPILLIA CERAMICS: THE RELATIONSHIP BETWEEN FORM, DECORATION AND ITS T... more ORNAMENTS OF THE CUCUTENI-TRYPILLIA CERAMICS: THE RELATIONSHIP BETWEEN FORM, DECORATION AND ITS TECHNOLOGIES IN AN EVOLUTIONARY PERSPECTIVE
The evolution of Cucuteni-Trypillia ornaments was unfolding in the context of a system that combines a set of vessel shapes (the shape determines the geometry of the ornamental field), a set of ornamental motifs and principles of composition, which, in turn, are related with the technology and technique of ornamentation. The use of one or another ornament directly depends on the shape of the vessel. A detailed study of the decoration reveals the sequence and method of applying colorful layers, individual ornamental motifs, and sometimes — to highlight the marking elements of a complex ornamental scheme. The example of Cucuteni-Trypillia shows that changes in the system of forms and ornaments occur in a complex manner: the evolution of forms directly affects the ornament and vice versa. The principles of its application mark local variations, and the predominance of basic symmetries mark global shifts in the evolution of culture

Palaguta I., Starkova E. “Binoculars” and “monocle-shaped” items of the Cucuteni-Trypillya culture: forms, context, possible functions // Pots and Society: Relationships, identities, and prestige/status. BECAP 24. Belgrade, May 16-17th, 2024. Book of abstracts. Belgrade, 2024. P. 47–48

by Ilia Palaguta and Elena Starkova

The ceramic assemblage of Cucuteni-Trypillya (c. 5500–2800 Cal BC) presents unusual forms of so-c... more The ceramic assemblage of Cucuteni-Trypillya (c. 5500–2800 Cal BC) presents unusual forms of so-called “binoculars”. They consist of two tubes connected by jumpers (there are two cases where there are three such tubes). Along with them, there are also single tubes called "monocles”.
These specific forms became widespread at the beginning of the middle stage of cultural development Cucuteni A – Trypillya BI and disappeared with the end of Cucuteni B – Trypillya CI period when significant changes in various fields of culture occurred (Palaguta 2007).
The shapes of these items vary. “Monocles” are either cylindrical or consist of two cones; they may have a holes, handles, or knobs. Their existence is mainly limited to the Cucuteni A – Trypillya BI period. For “binoculars,” both the shape of the tubes and the shape and number of jumpers vary too. It is possible that these categories of items represent two different evolutionary lines.
Analysis of the archaeological context does not make it possible to unambiguously interpret and determine the functions of these items. They were usually found within residential buildings; special sanctuaries cannot be marked based on their findings. This is another argument in favor of the fact that the Cucuteni-Trypillya society was built on the basis of horizontal social connections.
There are several versions regarding the functions of these items. Interpreting them as drums (Kovács, Gridan 2015; similar to ceramic drums of the Late Neolithic Walternienburg-Bernburger culture in Germany or modern darbuka-type goblet drums) is only suitable for “monocles”. The upper jumper of the “binoculars” does not make it possible to stretch the membrane over the bells.
As stands/altars, “monocles” can be interpreted based on multiple analogies from Ancient Near East, Mediterranean, Central Asia, and even China. “Binocular” items don’t find analogues in other cultures; most likely, they were used for cult purposes.

Палагута И.В., Старкова Е.Г. О подходах к исследованию древних орнаментов: организация композиции как показатель культурных изменений // Связи и взаимоотношения культур Циркумпонтийского региона: Материалы конференции, посвященной памяти А.Ю. Скакова. Москва: ИА РАН, 2023. С. 93–100

by Ilia Palaguta and Elena Starkova

В сборнике публикуются материалы конференции, посвященной памяти выдающегося учёного-кавказоведа ... more В сборнике публикуются материалы конференции, посвященной памяти выдающегося учёного-кавказоведа Александра Юрьевича Скакова. Работы по большей части касаются сферы научных интересов А.Ю. Скакова: эпоха бронзы и ранний железный век Кавказа и Юго-Восточной Европы-в первую очередь, это кобано-колхидская тематика, а также этнографии Кавказа.

Палагута И.В. Антропоморфные статуэтки ранних земледельцев Европы и их возможные библейские аналогии // XXXII Междунар. конгресс по источниковедению и историографии стран Азии и Африки: Россия и Восток. 26–28 апреля 2023 г.: Материалы конгресса. СПб.: Изд-во РХГА, 2023. C. 533–535

Водяные знаки на бумаге дагестанских арабографических рукописей конца XVI-XVII вв. как источник п... more

Палагута И. В. Первое изображение повозки или пейзаж? К вопросу об интерпретации рисунка на сосуде из Броночице // Инновации, контакты, трансляции идей и технологий. Мат-лы Межд. научн. конф. 7–11.11 2022 г., Санкт-Петербург. СПб.: ИИМК РАН, ГЭ, 2022. С. 380–383.

Палагута И. В. Первое изображение повозки или пейзаж? К вопросу об интерпретации рисунка на сосу... more Палагута И. В. Первое изображение повозки или пейзаж? К вопросу об интерпретации рисунка на сосуде из Броночице // Инновации, контакты, трансляции идей и технологий. Материалы Международной научной конференции к 120-летию со дня рождения выдающегося исследователя древностей Южной Сибири и Центральной Азии М.П. Грязнова (1902–1984). 7–11 ноября 2022 г., Санкт-Петербург. СПб.: ИИМК РАН, ГЭ, 2022. С. 380–383.

Palaguta I.V. The first wagon depiction or a landscape image? On the interpretation of the drawing on the vessel from Bronočice
The image on a vessel of funnelbeaker culture from Bronočice (Poland) is considered to be the oldest image of wheeled transport, created several centuries earlier than the pictograms of carts of late Uruk. A detailed examination of the iconography makes it possible to cast doubt on such an interpretation: it is rather a conditional “landscape” rather than an image of wagons.

Palaguta I. Ornament: Power, expression, technology. And where is the meaning? // Pots as media: Decoration, technology, and message transmission. BECAP 22. Belgrade, May 12-13th 2022. Book of abstracts (Ed. by J. Vuković and V. Bikić). Belgrade: University of Belgrade, 2022. P. 38–39

Палагута И.В. Миф о «Великой Богине» в гуманитарной науке ХХ века // Советское искусство и мировое художественное пространство: роль женщины в искусстве ХХ века. Материалы науч.-практ. конф., (16 сентября 2021 г.). СПб.: СПГХПА им. А. Л. Штиглица, 2021. С. 52–57

В интерпретации памятников древнейшего искусства с середины XIX в. сложился ряд устойчивых паради... more В интерпретации памятников древнейшего искусства с середины XIX в. сложился ряд устойчивых парадигм, связывающих женские изображения эпох палеолита и неолита с культами плодородия и образом «Великой Богини». В их формировании в западной историографии ключевой фигурой стала М. Гимбутас, в советской — Б. А. Рыбаков. Несмотря на то, что гипотезы приобрели популярность, их доказательная база осталась на уровне умозрительных построений. В искусстве они не нашли значительного отражения. Анализ фактов доисторических культур и традиционных обществ показывает, что освобождение женщин и расширение их роли в общественной жизни стала возможной только в контексте социальных изменений ХХ в., а любые идеализации архаики оказываются несостоятельными.

Palaguta I. On the structure of archaeological and functional assemblages of Cucuteni-Tripolye sites: Precucuteni, Cucuteni A — Tripolye A, BI periods // Pots in context. BECAP 21. Book of abstracts. Belgrade: University of Belgrade, 2020. P. 43–44

Palaguta I. On the structure of archaeological and functional assemblages of Cucuteni-Tripolye si... more Palaguta I. On the structure of archaeological and functional assemblages of Cucuteni-Tripolye sites: Precucuteni, Cucuteni A — Tripolye A, BI periods // Pots in context: Vessels’ use, function, and consumption, research strategies and methodology. Belgrade Conference on Archaeological Pottery BECAP 21. Belgrade, 01–02 February 2021. Book of abstracts (Ed. by J. Vuković and V. Bikić). Belgrade: University of Belgrade, 2020. P. 43–44

Би Ч., Палагута И.В. Рельефы гробниц эпохи Хань провинции Шаньдун в контексте связей Восток-Запад // Древние и средневековые культуры Центральной Азии (становление, развитие и взаимодействие урбанизированных и скотоводческих обществ). Мат-лы Межд. конференции. СПб.: ИИМК РАН, 2020. C. 149–153.

Би Ч., Палагута И.В. Рельефы гробниц эпохи Хань провинции Шаньдун в контексте связей Восток-Запад... more Би Ч., Палагута И.В. Рельефы гробниц эпохи Хань провинции Шаньдун в контексте связей Восток-Запад // Древние и средневековые культуры Центральной Азии (становление, развитие и взаимодействие урбанизированных и скотоводческих обществ): Материалы Международной конференции, посвященной 100-летию со дня рождения д.и.н. А.М. Мандельштама и 90-летию со дня рождения д.и.н. И.Н. Хлопина 10–12 ноября 2020 г., Санкт-Петербург (Отв. ред. В.П. Никоноров, Л.Б. Кирчо, Е.О. Стоянов). СПб.: ИИМК РАН, 2020. C. 149–153.

Палагута И.В. Керамика в этнокультурных реконструкциях: иллюзии сходств и различий и закономерности производства // Древности Восточной Европы, Центральной Азии... Т. II. Связи, контакты и взаимодействия древних культур... К 80-летию со дня рождения В.С. Бочкарёва. СПб.: ИИМК РАН, 2019. С. 138–140

Ceramics in ethnocultural reconstructions: illusions of similarities and differences concerned with the principles of production, 2019

Палагута И.В. Керамика в этнокультурных реконструкциях: иллюзии сходств и различий и закономернос... more Палагута И.В. Керамика в этнокультурных реконструкциях: иллюзии сходств и различий и закономерности производства // Древности Восточной Европы, Центральной Азии и Южной Сибири в контексте связей и взаимодействий в евразийском культурном пространстве (новые данные и концепции): Материалы Международной конференции, 18–22 ноября 2019 г., Санкт-Петербург. Т. II. Связи, контакты и взаимодействия древних культур Северной Евразии и цивилизаций Востока в эпоху палеометалла (IV–I тыс. до н.э.). К 80-летию со дня рождения выдающегося археолога В. С. Бочкарёва. СПб.: ИИМК РАН, 2019. С. 138–140

Ceramics in ethnocultural reconstructions: illusions of similarities and differences concerned with the principles of production
In comparative analysis of ceramics, it is important to consider the whole set of properties of the pottery, and not just one of its characteristics. The use of a single attribute can lead to ephemeral reconstructions and synchronizations. Te present report is dealing with examples of constructing of such schemes relative to the Eneolithic and bronze age. a study of ceramics “as products of particular pottery-makers who produced pottery according to a single or diﬀering techniques” (Кожин 1989) provides its consideration within a functional and production complex reﬂected in archaeological assemblages as a system of interrelated stages of the technological process: preparation of raw materials, molding and forming techniques, methods and style of ornamentation, the character of the environment and fring temperature, and preparation for usage. Tis fact in no way negates an examination of the arrays of ceramic material at the level of their individual attributes or technological stages in cases of strong fragmentation of the materials or when studying pottery within a homogeneous cultural area.

Палагута И.В. К проблеме методологии исследования памятников доисторического искусства // Древности Восточной Европы, Центральной Азии и Южной Сибири в контексте связей... Мат-лы Межд. конф. Т. I. Древняя Центральная Азия... К 90-летию со дня рождения В.М. Массона. СПб., 2019. С. 207–209

On the problem of the methodology of researching works of Prehistoric art, 2019

Палагута И.В. К проблеме методологии исследования памятников доисторического искусства // Древнос... more Палагута И.В. К проблеме методологии исследования памятников доисторического искусства // Древности Восточной Европы, Центральной Азии и Южной Сибири в контексте связей и взаимодействий в евразийском культурном пространстве (новые данные и концепции): Материалы Международной конференции, 18–22 ноября 2019 г., Санкт-Петербург. Т. I. Древняя Центральная Азия в контексте евразийского культурного пространства (новые данные и концепции). К 90-летию со дня рождения патриарха евразийской археологии Вадима Михайловича Массона. СПб.: ИИМК РАН, 2019. С. 207–209

On the problem of the methodology of researching works of Prehistoric art
The dominant form of fine arts in the Eurasian early agricultural cultures was “mobile” small sculptures: anthropomorphic and zoomorphic fgurines, and diﬀerent kinds of models. Teir studies may be defned as universalist and contextualist approaches (Lesure 2011). Such approaches can be traced as well in the studies of Russian and Eastern European scholars. In addition, since the late 1960s, an integrated approach emerged, being reﬂected both in archaeological and oriental studies.
Problems in the interpretation of fgurines can be overcome within the framework of this approach that is based on a thorough study of the archaeological context, iconographic analysis; reconstructions of the social context, and a consideration of objects of art as means of social communication. Te use of comparative analysis is also quite productive one, but under the condition of a comparison not only of the fnds themselves, but of their contexts.

Палагута И.В. Наука и искусство: проблемы взаимодействия // От ремесла к искусству. Керамика: технология, декор, стиль. Тез. докл. Межд. научно-практической конф. 22–25 мая 2018 г. Санкт-Петербург: СПГХПА им. А.Л. Штиглица, 2018. С. 11–12

Горбунова Т.В., Палагута И.В., Сухарев С.Е. От редакции. Искусство керамики: сквозь века и границы // От ремесла к искусству. Керамика: технология, декор, стиль. Тез. докл. Межд. научно-практической конф. 22–25 мая 2018 г. Санкт-Петербург: СПГХПА им. А.Л. Штиглица, 2018. С. 9–10

by Ilia Palaguta and Tatiana Gorbunova

Палагута И.В. О социальном аспекте доисторического и традиционного искусства (к методологическим проблемам современного искусствознания) // Современное искусство в контексте глобализации: наука, образование, художественный рынок: VII Всерос. научно-практ. конф. СПб.: СПбГУП, 2017. С. 65–67

Палагута И.В. О социальном аспекте доисторического и традиционного искусства (к методологическим ... more Палагута И.В. О социальном аспекте доисторического и традиционного искусства (к методологическим проблемам современного искусствознания) // Современное искусство в контексте глобализации: наука, образование, художественный рынок: VII Всероссийская. научно-практическая конференция, 17 февраля 2017 г. (под ред. С.А. Сухорукова). СПб.: СПбГУП, 2017. С. 65–67

Палагута И.В., Старкова Е.Г. Триполье и Степь: к вопросу о динамике культурных взаимосвязей // Внешние и внутренние связи степных (скотоводческих) культур Восточной Европы в энеолите и бронзовом веке (V–II тыс. до н.э.). СПб., 2016. С. 52–57

by Ilia Palaguta and Elena Starkova

Палагута И.В., Старкова Е.Г. Триполье и Степь: к вопросу о динамике культурных взаимосвязей // Вн... more Палагута И.В., Старкова Е.Г. Триполье и Степь: к вопросу о динамике культурных взаимосвязей // Внешние и внутренние связи степных (скотоводческих) культур Восточной Европы в энеолите и бронзовом веке (V–II тыс. до н.э.). Круглый стол, посвященный 80-летию со дня рождения С.Н. Братченко (Санкт-Петербург, 14–15 ноября 2016 г.): Материалы. СПб., 2016. С. 52–57

Палагута И.В. Доисторическое и традиционное искусство: на границе искусствознания, археологии и этнологии // Актуальные проблемы теории и истории искусства — 2016: Тезисы докладов VII Международной конференции. СПб., 2016. C. 27

Palaguta I.V. (SPSAAD named after A.L. Stieglitz) Prehistoric and Traditional Art: on the borders... more Palaguta I.V. (SPSAAD named after A.L. Stieglitz)
Prehistoric and Traditional Art:
on the borders of Art History, Archaeology and Ethnology

Traditionally the Art of Prehistoric and traditional societies is considered on the periphery of the subject field of Art studies. Despite the fact that its shapes significantly influenced to the development of XXth century Western art, many it’s aspects remain unresolved, and in it’s interpretations sometimes stereotypes prevailed that are based on simplistic interpretations of the anthropological theories, including that were been obsolete long ago.
The terms “primitive” or “prehistoric” art themselves while been applied to the art-objects that were created within the frameworks of societies, which have not reached the level of stable state institutions (in contemporary cultural anthropology, its are determined as “early complex societies”), are not look quite successful. Many of the evaluation criteria and the terms used in this field of studies require revision.
The main problem in the study of these art-objects is associated with limited information (with complete or partial absence of criteria and ratings, and performers’ comments), and sources of information need to do its further critical analysis. The solution of this problem requires using of the basis and researching instruments of related disciplines: archeology and ethnology (cultural anthropology). It need also to be taken in account the factors of “invention of traditions”, which has had a significant impact on the interpretation of images and decoration motives, that formed during the formation of ethnography and entrenched in the historiography.
On the other hand, Art History methods are possible to be effective for such studies, in particular, the approach based on a combination of formal, iconographic and iconological analysis. Their application allows to go beyond the set of stereotypes existing among the archeologists and ethnologists.
In the studies on the art of archaic societies should define a particular problem of developing approaches to the study of ornament, because of applied and decorative nature of a significant part of art-objects. The rhythmic foundation of the structure, symmetric construction of composition and motifs of ornament, allow to allocate it in a special art form (nearly not to images, but to music), which is based on the principles of artificial, geometric organization of space. Semantic field of ornament is primarily formed on the principle of free associations.
A complete review of the rich material presented by creativity of artists beginning from the Paleolithic era up to the modern traditional societies, can significantly extend the boundaries of both Art Studies and the concept of “Art” itself.

Kozhin P., Palaguta I. LBK pottery: technology and ornamentation // Traditions and Innovations in the Study of Earliest Pottery. Materials of the International conference, May, 24–27, 2016, St. Petersburg, Russia. St. Petersburg: State Hermitage, IHMS RAS, 2016. P. 248–251

Kozhin P. (Moscow), Palaguta I. (Saint-Petersburg) LBK pottery: it’s technology and ornamentation... more Kozhin P. (Moscow),
Palaguta I. (Saint-Petersburg)
LBK pottery: it’s technology and ornamentation

LBK-culture, which linked with the spread of the productive economy in Temperate deciduous forest zone of Western, Central and Eastern Europe, is a key-point for understanding of cultural genesis processes that passed during the Neolithic and Copper Age periods on this extensive territory. Instead of large-scale field investigations the studies on LBK pottery technology are still limited by few regional issues. Materials from Western part of the areal were studied in details only (Gomart, 2014).
LBK pottery shapes itself that comes both from the Eastern (Floreşti, Niezwiska) and Western pars of it’s wide areal demonstrate the same using on “paddle-and-anvil” technique as a main manufacturing operation. Such technique implies in simplest case making crude thick-walled cup-shaped preform. Walls might be built by belt-strips. But large and complex-shaped forms can be constructed from separate parts. Similar observations are obtained for pottery from the Western part of LBK area (Gomart, 2011).
Paddle-and-anvil technique is used for making of both ornamented pottery (so called ‘table-ware’) and ‘kitchen-ware’ with a rough surface that is mostly unornamented (fig. 1). Using of paddle-and-anvil technique requires the use of finely divided impurities that are not damaged and break the wall of the vessel: sand (crushed powdered gruss; chamotte) or organics (chaff or, perhaps, dried manure) (Кожин, 1964; Rye, 1981). The differences between admixtures obviously have regional character and associated with the quality and composition of various clays, and with the methods of clay mass preparing.
The peculiarity of the set of pottery shapes and using of paddle-and-anvil technique as the main method of forming operation, which generate the round-bottom tradition of pottery-making, gives possibilities to separate LBK zone from the general areal of Middle and Late Neolithic cultures of the Balkan-Carpathians region.
In particular, LBK’s role in the genesis of Precucuteni-Tripolye A ceramics assemblage (Marinescu-Bȋlcu, 1971 etc.) can be excluded. There a completely different system of techniques were used that presupposed forming of vessels by flat bottom scheme with followed scraping. Such forming technique allows to use of large fractions of chamotte as an admixture. Paddle-and-anvil technique was not used during Early Tripolye period as during later ones (Palaguta, 2007).
Observations on the LBK ornamentation technique allow to suppose that it was initially associated with processing of solid materials. It might be wood (or wood-burl) or, perhaps, gourd (Childe, 1958: 108; but this assumption need to be proved because the widespread use of bottle-gourd in Europe can be observed only from the Roman period). For example, in Floreşti lines of pottery decoration are mostly cut with the sharp instrument on clay that is in near ‘leather-hard’ condition (in 1,5–2 mm depth), ‘dots’ were made after lines (fig. 1/1–4). Vessel’s polishing was made after ornamenting (there are some cases in Floreşti assemblage, when the ornamental lines were erased during the polishing process; fig. 1/2–3).
The construction of ornamental compositions on early LBK pottery was produced in a ‘free manner’ and did not correlate with the tectonics of pottery shapes. Ornamental zones’ formation took place during the stage of ‘note’ pottery. This fact also point to the influences of non-ceramic artifacts. As an example here could be applications or braiding by bark strips or straws over gum coating. It is often when ornaments of such ‘coating’ are not the same as incise decoration that made directly on pot surface. Multiple examples of such vessels were found in LBK wells, where organic materials preserved in layers of groundwater (Elburg, 2013; it can not be excluded that additional coating and it’s ornamentation was linked exactly with such well-discovered pottery and might be the traces of some ‘water-cults’). Anyway, here we faced with the development of ‘technical’ decoration (see: Bremer, 1925; Кожин, 2014; Палагута, 2009). All indicated features displays that the traditions of LBK ornamentation didn’t linked with steady pottery production, but with a set of household utensils made from non-ceramic, organic materials.
The question on the origins of LBK pottery tradition is still opened. Nowadays it is popular the concept that LBK culture assemblage appeared in a Pannonian plain, North to Balaton lake, where new forms of adaptation to the environment was formed among local ‘Mesolithic’ forager’s communities under the influence of Starčevo-Körös-Criş culture (Банффи, 2014). It is not possible now to say with confidence about the continuity or connections between Starčevo-Körös and early LBK pottery traditions at least because there was not made any detailed study on this pottery (unfortunately, data on the composition of the ceramic mass (Kreiter, Pető, Pánczél, 2013) is clearly insufficient in this case). Typical longhouses already presents in earliest pre-LBK sites, but pottery looks like Starčevo one (Bánffy, Oross, 2010). Peculiar LBK pottery tradition was formed later, and it is possible to claim that it is a special phenomenon in European Neolithic.

Палагута И.В., Митина М.Н. Лары и Пенаты эпохи неолита? (О современной интерпретации предметов раннеземледельческой пластики) // Современное искусство в контексте глобализации: наука, образование, художественный рынок. Мат-лы VI Всерос. научно-практич. конф., 19 февр. 2016 г. СПб., 2016. С. 69–72

by Maria Mitina and Ilia Palaguta

Палагута И.В., Митина М.Н. Лары и Пенаты эпохи неолита? (О современной интерпретации предметов ра... more Палагута И.В., Митина М.Н. Лары и Пенаты эпохи неолита? (О современной интерпретации предметов раннеземледельческой пластики) // Современное искусство в контексте глобализации: наука, образование, художественный рынок. Материалы VI Всероссийской научно-практической конференции, 19 февраля 2016 г. СПб.: СПбГУП, 2016. С. 69–72

Palaguta I. On the problem of interpretation of the Neolithic anthropomorphic clay sculpture: figurine sets — their structure, functions and analogies // Cucuteni Culture within the European Neo-Eneolithic Context: International Colloquium Cucuteni–130. Abstracts. Piatra-Neamţ, 2014. P. 160–162

Palaguta I. On the problem of interpretation of the Neolithic anthropomorphic clay sculpture: fig... more Palaguta I. On the problem of interpretation of the Neolithic anthropomorphic clay sculpture: figurine sets — their structure, functions and analogies // Cucuteni Culture within the European Neo-Eneolithic Context: International Colloquium Cucuteni–130. Abstracts: Piatra-Neamţ, l5–17 octombrie 2014 (ed. by Gh. Dumitroaia, C. Preoteasa, C.-D. Nicola). Piatra-Neamţ: Editura "Constantin Matasă", 2014. P. 160–162

Palaguta I.V. Imagery and Written Sources of Classic Antiquity and the Problem of Interpretation of Works of Prehistoric European Art // Actual Problems of Theory and History of Art — 2014: Abstracts from the reports of the 5th International Conference. SPb., 2014.

Международная выставка «Образы Средневековья в работах современных художников»: кат. выст., Выборгский объединенный музей-заповедник, 7 июля – 14 октября 2018 г. Санкт-Петербург: СПГХПА им. А.Л. Штиглица, 2018. 84 с.

From Crafts to Art. Ceramics: technology, decor, style. International academic research conference, 22–25 May 2018, Saint Petersburg. Abstracts. Saint Petersburg: Stieglitz Academy, 2018.

by Ilia Palaguta, Elena Starkova, and Tatiana Gorbunova

От ремесла к искусству. Керамика: технология, декор, стиль. Тезисы докладов Международной научно-... more От ремесла к искусству. Керамика: технология, декор, стиль.
Тезисы докладов Международной научно-практической конференции 22–25 мая 2018 года, Санкт-Петербург. Науч. ред. Т.В. Горбунова, И.В. Палагута, Е.Г. Старкова, С.Е. Сухарев. Санкт-Петербург: СПГХПА им. А.Л. Штиглица, 2018. 144 с.
В сборнике представлены тезисы докладов Международной научно-практической конференции «От ремесла к искусству. Керамика: технология, декор, стиль», посвященной проблемам взаимодействия науки и практики, применения результатов научных исследований керамики, проведенных в рамках широкого спектра гуманитарных и естественных наук, в практической деятельности художников в области декоративно-прикладного искусства

Международная выставка «Петербург. Кохтла-Ярве. Творческая палитра»: кат. выст., Кохтла Ярве, Республика Эстония, 22 августа – 9 сентября 2017. Санкт-Петербург: СПГХПА им. А.Л. Штиглица, 2017. 100 с.

Sharov O., Palaguta I., Khavrin S. Analysis of metal hoards of Roman coins in the area Koporye // Археологические вести. Вып. 21. СПб.: ИИМК РАН, 2015. С. 148–161 (in Russian)

by Ilia Palaguta and Oleg Sharov

The present paper considers the results of metal analysis of coins from two hoards (a monetary on... more The present paper considers the results of metal analysis of coins from two hoards (a monetary one and one of coins and goods) of the Roman period found in 2008 near the village of Koporye in Leningrad oblast. The coins and metal goods (fragments of a neck ring and two bracelets), with the exception of one silver denarius, are made from brass. All of the coins belong to two monetary denominations of the Roman Empire — sesterces and dupondii. The date of concealment of hoard no. 1 is 160/170 AD. That of hoard no. 2 is 140/150 AD. These dates are additionally confirmed by chemical analysis of the metal of the coins: the content of zinc according to S. Fleming’s diagram and the ratio of contents of zinc and tin after P.T. Craddock. The similarity between the chemical compositions of the alloys of the articles and coins along with the latter’s strong wear suggest that these objects were used as raw materials for manufacturing personal ornaments.

Шаров О.В., Палагута И.В., Хаврин С.В. Находки кладов римских монет в районе Копорья // Российский археологический ежегодник. Вып. 1. СПб., 2011. С. 335–359.

by Oleg Sharov and Ilia Palaguta

Sharov O., Palaguta I., Havrin S. Hoards of Roman coins from Koporie. Until recently archaeologi... more Sharov O., Palaguta I., Havrin S. Hoards of Roman coins from Koporie.
Until recently archaeological objects dated to the Roman period were represented on the territory of the present Leningrad oblast by accidental finds and a small number of graves associated with the culture of Estonian Stone Burial Grounds.
The discovery of two hoards with Roman coins and some other objects near the village of Koporie gives new information about the history of the region during the I–II centuries AD. The hoards include 30 and 12 brass coins, sestertius and dupondius (worn and corroded), and one silver denarius (found on the place of hoard 2). All the definable coins are dated to the times of Titus (79–81 AD) Lucius Verus (161–169 AD), and therefore the hoards could have been deposited ca. 160–170 and 140–150 AD, respectively.
It is shown by the chemical analysis, the admixture of zinc in brass corresponds to Fleming’s diagram (1975) and agrees with
the proposed dates. The same brass alloy was used both for the fibula of Almgren’s type 55 and the conical edged neck-ring dated to 70–160 AD. The similarity of coin alloys with those of other articles allows to suppose that the former were used as raw material for the latter. The Koporie hoards can be indicative
of the fact that this region was a part of the eastern area of the Estonian Stone Burial Grounds culture. One more possibility is
that it belonged to the area of the related and synchronous archaeological culture of Izhorian Stone Burial Grounds.

Sharov O., Palaguta I., Khavrin S. Analysis of metal hoards of Roman coins in the area Koporye // Археологические вести. Вып. 21. СПб.: ИИМК РАН, 2015. С. 148–161 (in Russian)

by Сергей Хаврин and Ilia Palaguta

The present paper considers the results of metal analysis of coins from two hoards (a monetary on... more The present paper considers the results of metal analysis of coins from two hoards (a monetary one and one of coins and goods) of the Roman period found in 2008 near the village of Koporye in Leningrad oblast. The coins and metal goods (fragments of a neck ring and two bracelets), with the exception of one silver denarius, are made from brass. All of the coins belong to two monetary denominations of the Roman Empire — sesterces and dupondii. The date of concealment of hoard no. 1 is 160/170 AD. That of hoard no. 2 is 140/150 AD. These dates are additionally confirmed by chemical analysis of the metal of the coins: the content of zinc according to S. Fleming’s diagram and the ratio of contents of zinc and tin after P.T. Craddock. The similarity between the chemical compositions of the alloys of the articles and coins along with the latter’s strong wear suggest that these objects were used as raw materials for manufacturing personal ornaments.

Шаров О.В., Палагута И.В., Хаврин С.В. Анализ металла кладов римских монет в районе Копорья // Археологические вести. Вып. 21. СПб.: ИИМК РАН, 2015. С. 148–161.

by Oleg Sharov and Ilia Palaguta

The present paper considers the results of metal analysis of coins from two hoards (a monetary on... more The present paper considers the results of metal analysis of coins from two hoards (a monetary one and one of coins and goods) of the Roman period found in 2008 near the village of Koporye in Leningrad oblast. The coins and metal goods (fragments of a neck ring and two bracelets), with the exception of one silver denarius, are made from brass. All of the coins belong to two monetary denominations of the Roman Empire — sesterces and dupondii. The date of concealment of hoard no. 1 is 160/170 AD. That of hoard no. 2 is 140/150 AD. These dates are additionally confirmed by chemical analysis of the metal of the coins: the content of zinc according to S. Fleming’s diagram and the ratio of contents of zinc and tin after P.T. Craddock. The similarity between the chemical compositions of the alloys of the articles and coins along with the latter’s strong wear suggest that these objects were used as raw materials for manufacturing personal ornaments.

Палагута И.В. Кафедра искусствоведения в художественном вузе: проблемы и перспективы (опыт Академии Штиглица) // Искусствознание: наука, опыт, просвещение. Сборник статей по материалам международной научной конференции. 9–11 ноября 2017 года. Москва: ГИИ, 2018. С. 531–538

Палагута И.В. Академия Штиглица — национальное достояние // Профессиональное образование, наука и инновации в ХХI веке. Сб. трудов XI Санкт-Петербургского конгресса, Санкт-Петербург, 23–24 ноября 2017 г. СПб.: ФГБОУ ВО ПГУПС, 2017. С. 216–217.

УДК 001 ББК 72 П84

Палагута И.В. Искусство как важнейший элемент национальной идентичности и проблемы развития художественного образования в современной России // Единая образовательная среда в сфере искусства и дизайна как фактор формирования и воспитания творческой личности. М., 2017. С. 75–80

Палагута И.В. Искусство как важнейший элемент национальной идентичности и проблемы развития худож... more Палагута И.В. Искусство как важнейший элемент национальной идентичности и проблемы развития художественного образования в современной России // Единая образовательная среда в сфере искусства и дизайна как фактор формирования и воспитания творческой личности. Материалы Всероссийской научной конференции 29 мая 2017, МГХПА им. С.Г. Строганова. М.: МГХПА им. С.Г. Строганова, 2017. С. 75–80

Палагута И.В. Проблемы изучения доисторического искусства студентами-искусствоведами // Проблемы управления качеством образования в гуманитарном вузе. Материалы XI Международной научно-методической конференции, 27 октября 2006 года. СПб.: СПбГУП, 2006. C. 175–176

Палагута И.В. Курс «Основы археологии» для студентов искусствоведческих специальностей // Проблемы управления качеством образования в гуманитарном вузе. Материалы 10-й Международной научно-методической конференции, 26–27 октября 2005 года. СПб.: СПбГУП, 2006. С. 160–161

Дележа Е.М., Палагута И.В., Сухоруков С.А. Искусствоведческо-археологические знания в системе современного художественного образования // Проблемы управления качеством образования в гуманитарном вузе. IX Всерос. научн.-мет. конф. СПбГУП, 28–29.10.2004. Тез. докл. СПб.: СПбГУП, 2004. С. 114–115

Палагута И.В. Лица далекого прошлого: мелкая пластика доисторических культур Болгарии в свете новейших исследований: Рец. на кн.: Ставрева В. Антропоморфна пластика от късния енеолит — възможности за интерпретация. София, 2024. 301 p.; 283 p. // Terra Artis. Искусство и дизайн. 2024. № 4. С.157—162

Палагута И.В. Типохронология трипольских памятников Буго-Днепровского междуречья: «поселения-гиганты» вконтексте развития региона (Shatilo L. Tripolye Typo-chronology: Mega and Smaller Sites in the Sinyukha River Basin (Scales of Transformation). Leiden, 2021. 370 p.) // ПАЖМИ. 2021 (2), 124–131

Palaguta I.V. Typo-chronology of the Tripolye sites in the Bug-Dnieper interfluve: Giant settleme... more Palaguta I.V. Typo-chronology of the Tripolye sites in the Bug-Dnieper interfluve: Giant settlements in the regional context (Shatilo L. Tripolye Typo-chronology: Mega and Smaller Sites in the Sinyukha River Basin (Scales of Transformation). Leiden: Sidestone
Press, 2021. 370 p.). Prehistoric Archaeology. Journal of Interdisciplinary Studies. 2021 (2), 124–131. (in Russ.). DOI: 10.31600/2658-3925-2021-2-124-131

Палагута И.В. К изданию коллекций пластики культуры Кукутень А Молдовы. Памяти Станислава Церны. [Рец. на:] Ţerna S., Vasilache M. Anthropomorphic figurines from Cucuteni A stage from the Prut-Dniester interfluves. Chişinău, 2019 // Revista Arheologică, SN, XVII, 1, 2021. P. 120–124

Палагута И.В. К изданию коллекций пластики культуры Кукутень А Молдовы. Памяти Станислава Церны. ... more Палагута И.В. К изданию коллекций пластики культуры Кукутень А Молдовы. Памяти Станислава Церны. [Рец. на:] Ţerna S., Vasilache M. Figurinele antropomorfe din etapa Cucuteni A din interﬂuviul pruto-nistrean: (în baza colecțiilor Muzeului Național de Istorie a Moldovei) = Anthropomorphic figurines from Cucuteni A stage from the Prut-Dniester interfluves: (the collections of the National Museum of History of Moldova) / Biblioteca Tyragetia, 31. Chişinău 2019. 264 pagini şi 63 planşe. ISBN 978-9975-87-562-2 // Revista Arheologică, serie nouă, vol. XVII, nr. 1, 2021. P. 120–124

Палагута И.В., Старкова Е.Г. Симметрия в культуре и симметрия культуры: опыт применения математики в антропологии искусства: Рец. на кн.: Washburn D.K., Crowe D.W. Symmetries of Culture: Theory and Practice of Plane Pattern Analysis. New York: Dover, 2020 // Terra artis. 2021. № 2. С. 144–151.

by TERRA ARTIS. Art and Design. Scientific Journal, Ilia Palaguta, and Elena Starkova

Symmetries in Culture and Symmetries of Culture: the Experience of Applying Mathematics to Anthropology of Art: Review of: Washburn D.K., Crowe D.W. Symmetries of Culture:Theory and Practice of Plane Pattern Analysis. New York: Dover Publications, 2020. 301 p., 2021

Палагута И.В. Опыт «теоретизации» орнамента: «герменевтика» или бриколаж?: Рец. на кн.: Иванов Н.А. Орнамент: Герменевтика и глоссарий. Москва: Этерна, 2018. 352 с. // Terra artis. Искусство и дизайн. 2021. № 2. С. 152–157.

by TERRA ARTIS. Art and Design. Scientific Journal and Ilia Palaguta

The Experience of Theorising the Ornament: Hermeneutics or Bricolage? Review of: Ivanov, N.A., Ornament: Germenevtika i glossarii [Ornament: Hermeneutics and Glossary], Moscow: Eterna Publ., 2018, 352 p., (In Russian), 2021

Палагута И.В. Трипольские «поселения-гиганты»: новые исследования и новые вопросы (Ohlrau R. Maidanets’ke: Development and Decline of a Trypillia Mega-site in Central Ukraine. Leiden: Sidestone, 2020. 424 p.) // Первобытная археология. Журнал междисциплинарных исследований. №2, 2020. С. 172–179

Палагута И.В. Интерпретируя древние статуэтки: от «универсалистских» интерпретаций к искусствоведческому подходу (Lesure R. G. Interpreting Ancient Figurines. Context, Comparison, and Prehistoric Art. Cambridge: Cambridge University Press, 2011. 256 p.) // Российский археологический ежегодник, №2. СПб., 2012. С. 794–797.

Лебедева Е.Ю. 2013.03.030. Палагута И.В. Мир искусства древних земледельцев Европы... // Социальные и гуманитарные науки. Отечественная и зарубежная литература. Серия 5: История. Реферативный журнал. 2013. № 3. С. 210-214.

Книга И.В. Палагуты посвящена развитию искусства в эпоху бронзы на юге и юго-востоке Европы. Как ... more Книга И.В. Палагуты посвящена развитию искусства в эпоху бронзы на юге и юго-востоке Европы. Как отмечает автор, это вре-мя представляет собой своеобразную лакуну в истории искусства. Большинство работ посвящено либо искусству палеолита, либо пе-риоду после возникновения древнейших цивилизаций Ближнего Востока. Книга состоит из введения, пяти глав и заключения. Первая глава является вводной, в трех последующих рассматриваются конкретные аспекты искусства ранних земледельцев (жилища и архитектура, пластика и украшения, керамика и орнамент); последняя глава прослеживает развитие искусства в рамках одной из культур - Триполье-Кукутени.

Юрьева Т.С. Рецензия на книгу И.В. Палагуты «Мир искусства древних земледельцев Европы (культуры балкано-карпатского круга в VII–III тыс. до н.э.)» // Общество. Среда. Развитие. №3 (20), 2011. С. 238–239.

Палагута И.В. Искусство ранних земледельцев Европы: культурно-антропологические аспекты. Автореферат диссертации на соискание ученой степени доктора исторических наук: специальность 07.00.07 «Этнография, этнология и антропология». СПб., 2010. 45 с.

59 На правах рукописи Палагута Илья Владимирович ИСКУССТВО РАННИХ ЗЕМЛЕДЕЛЬЦЕВ ЕВРОПЫ: культурно-... more 59 На правах рукописи Палагута Илья Владимирович ИСКУССТВО РАННИХ ЗЕМЛЕДЕЛЬЦЕВ ЕВРОПЫ: культурно-антропологические аспекты Специальность 07.00.07 этнография, этнология и антропология Автореферат диссертации на соискание ученой степени доктора исторических наук Санкт-Петербург А11 г Ц}\\} 2010 -3-

Палагута И.В. Локальные особенности и относительная хронология памятников Триполья ВI – Кукутени А (по материалам керамических комплексов). Автореферат дис. ... кандидата исторических наук: специальность 07.00.06 "Археология". СПб., 2000. 23 с.

Palaguta I. On the structure of archaeological and functional assemblages of Cucuteni-Tripolye sites: Precucuteni, Cucuteni A -Tripolye A, BI periods // BECAP-2020

Би Чжичэн , Палагута И.В. Рельефы гробниц эпохи Хань провинции Шаньдун в контексте связей Восток-Запад // Международная конф. Древние и средневековые культуры Центральной Азии (становление, развитие и взаимодействие урбанизированных и скотоводческих обществ). Санкт-Петербург, ИИМК РАН, 10–12.11.2020

Палагута И.В. К проблеме методологии исследования памятников доисторического искусства // Древности Восточной Европы, Центральной Азии и Южной Сибири в контексте связей и взаимодействий в евразийском культурном пространстве. Международная конференция, 18–22 ноября 2019 г., ИИМК РАН, Санкт-Петербург

Палагута И.В. Орнамент как особый вид искусства // Искусствознание: наука, опыт, просвещение. Международная научная конференция 4–5 октября 2019 года, Москва, Государственный институт искусствознания

Palaguta I. Imagery and Written Sources of Classic Antiquity and the Problem of Interpretation of Works of Prehistoric European Art // "Актуальные проблемы теории и истории искусства". Санкт-Петербург, October 28 – November 1, 2014

Presentation

Research and practice conference "FROM CRAFTS TO ART. CERAMICS: TECHNOLOGY, DECOR, STYLE, 22–25 May, 2018. PROGRAM

Палагута И.В. Орнаментация керамики: проблемы формообразования и семантики // II-я Международная научная конференция «Современное искусство Востока: ключевые процессы, методы изучения, проблемы музеефикации», Москва, 17–20 октября 2017 года

Палагута И.В. Орнаментация керамики: проблемы формообразования и семантики (по археологическим и этнографическим материалам), 2017

В искусстве керамики орнамент играет особую роль. Он напрямую связан с тектоникой формы изделия, ... more В искусстве керамики орнамент играет особую роль. Он напрямую связан с тектоникой формы изделия, с построением его цельной объемной композиции. Главная особенность керамического орнамента — исходящая из морфологии изделия необходимость композиционного построения орнамента не на плоскости, а на криволинейных поверхностях.
В исследовании орнаментов ключевым вопросом является разработка вопросов терминологии. В частности, вопроса определения орнамента, где орнамент бы рассматривался не как декоративное дополнение к предмету, а как самостоятельный вид искусства (Рогинский 1981). Это подчеркивает и этимология термина «орнамент» (Summers 2003).
В отечественной историографии теоретические основы исследования орнамента были разработаны П.М. Кожиным (1934–2016). В работе, посвященной орнаменту керамики китайского неолита, им были обозначены основные направления его изучения: формальное; технологическое; этноисторическое; семантическое; искусствоведческое (Кожин 1981).
В формообразовании орнаментов керамики важную роль играют «технический орнамент» (Кожин 2014; Палагута 2010); разметка (Кожин 1995); принципы симметрии (Shepard 1948); обратимость (Чернецов 1948).
В орнаменте ритм и гармония композиции доминирует над смысловой (изобразительной) составляющей. Геометрия элементов и мотивов часто является исходной для последующих их интерпретаций по принципу свободных ассоциаций (Палагута 2011).
Наблюдения над закономерностями и принципами построения орнаментов керамики различных древних и традиционных культур имеют важное значение не только в теоретических исследованиях, но и в художественной практике при создании новых произведений декоративно-прикладного искусства.

Кожин П.М., Палагута И.В. Линейно-ленточная керамика: технологии изготовления и орнаментация. 2016

by Ilia Palaguta and Kozhin Pavel M.

Кожин П.М. (Москва, Институт Дальнего Востока РАН) Палагута И.В. (Санкт-Петербург, Санкт-Петербур... more Кожин П.М. (Москва, Институт Дальнего Востока РАН) Палагута И.В. (Санкт-Петербург, Санкт-Петербургская Художественнопромышленная академия им. А.Л. Штиглица) Линейно-ленточная керамика: технологии изготовления и орнаментация Культура линейно-ленточной керамики (КЛЛК)ключ к пониманию процессов культурогенеза, протекавших в неолите в Западной, Центральной и Восточной Европе КАРТА Ареал КЛЛК (по A. Czekaj-Zastawny 2008) Незвиско

Доисторическое и традиционное искусство: на границе искусствознания, археологии и этнологии // VII-я Международная конференция "Актуальные проблемы теории и истории искусства". Санкт-Петербург, 11–15 октября 2016

http://actual-art.spbu.ru/

Палагута И.В., Старкова Е.Г. Триполье и Степь: к вопросу о динамике культурных взаимосвязей. 2016

by Ilia Palaguta and Elena Starkova

Palaguta I. On the problem of interpretation of the Neolithic anthropomorphic clay sculpture: figurine sets — their structure, functions and analogies // International Colloquium "Cucuteni Culture within the European Neo-Eneolithic Context", Piatra-Neamț, Romania, 15-17 October 2014

CALL FOR PAPERS! Conference "FROM CRAFTS TO ART. CERAMICS: TECHNOLOGY, DECOR, STYLE". Saint-Petersburg, May 22-25, 2018

Decorative and applied art is born in the interaction of traditions and the constant search for n... more Decorative and applied art is born in the interaction of traditions and the constant search for new forms. The enormous potential of the knowledge gained over the past decades in the study of objects from archaeological excavations, ethnographic observations of the results often remain out of sight of contemporary artists. On the other hand, many scientific reconstructions remain speculative, and discoveries are unclaimed. Synthesis of theoretical and practical knowledge will allow to solve this problem. Conference aim is interaction of science and practice, the study of decorative and applied arts in archeology, ethnography, art history and the synthesis of traditions and innovations in contemporary art In the key topic of the theme "From Crafts to Art", it is planned to hold annual conferences within the framework of the cycle: — ceramics and glass; — textiles and other fabrics; — metalwork; — arts and crafts: traditions and innovations 2018 meeting topic is " CERAMICS: TECHNOLOGY, DECOR, STYLE " The following questions will be under discussion: — technology and technique of manufacturing and ornamentation of pottery; — interaction of technology, decor and form in ceramic products; — figurative and abstract shapes in pottery. A common theme for all conferences: — synthesis of technology and forms in various kinds of arts and crafts We invite practitioners, theoreticians, teachers, graduate students and undergraduates to participate in the conference. Proceedings of the conference will be issued in electronic and printed form.

Colloquium Praehistoricum. Anthropomorphic figurines in the context of European Eneolithic societies (Tripolye-Cucuteni culture). 14/06/2017

Палагута И.В. Исследования орнамента: основные направления и перспективы. 2020

Аннотация: В изучении декоративно-прикладного искусства анализ орнамента играет ключевую роль. Те... more Аннотация: В изучении декоративно-прикладного искусства анализ орнамента играет ключевую роль. Тем не менее основные вопросы, касающиеся природы орнамента, его выразительных средств, семантики, принципы композиционного построения, роли в культуре — раскрыты фрагментарно. Главная тому причина — в обособлении областей наук, исследующих орнамент: искусствознания, культурной антропологии, этнографии, археологии и др. Назрела необходимость в синтезе методов и подходов, чтобы на этой основе выработать общие принципы исследования орнамента, учитывающие его разносторонние аспекты. Фундамент для такого синтеза заложен в работах российского археолога и востоковеда П.М. Кожина.
Практический и теоретический аспекты орнамента тесно взаимосвязаны. В дефиниции орнамента и связанной с ним терминологии с XIX в. произошли существенные изменения. Определение орнамента через его декоративную функцию не отражает его сущностных характеристик — ритма, метра и симметрии. Орнамент можно рассматривать как способ визуализации ритма, а своеобразие выразительных средств позволяет выделить его в особый вид искусства.
Современные направления в исследовании орнамента сложились в различных областях искусствознания, культурной антропологии и археологии. Помимо формального направления, основанного на систематизации орнаментов (по форме элементов и мотивов, а также по принципам организации композиции), важную роль играют подходы к орнаменту как к основе этнокультурных и исторических реконструкций. Целый спектр мнений представлен в исследованиях по семантике орнамента. Расхожее мнение о том, что орнамент является набором знаков и символов, на основе которого часто реконструируются мифологические представления, требует критического рассмотрения с точки зрения приемлемости используемых методов и доказательной базы имеющихся реконструкций. Между тем орнамент играет важную роль в процессе межкультурной и внутрикультурной коммуникации на уровне сигнала и индекса, представляя собой особый вид «искусства-ритма».
Междисциплинарный подход существенно расширяет представления о возможностях изучения орнаментов, создает базу для дальнейших исследований, из которых перспективными являются сквозной и кросс-культурный анализ орнамента как элемента коммуникативной системы, основанные на поиске связей между развитием орнаментальных традиций и стилей и развитием других областей человеческой культуры.

Palaguta I. Fascism: some problems of definition (in Russian). Unpublished, 2014

Фашизм: некоторые проблемы определения (04.2014, не опубликовано) В связи с широким использование... more Фашизм: некоторые проблемы определения (04.2014, не опубликовано) В связи с широким использованием в настоящее время термина «фашизм» применительно к совершенно различным явлениям современности, хотелось бы затронуть вопрос о его точном определении. В узком смысле этот термин применим только для политического режима, сложившегося в Италии 1920-х годов, однако с самого начала он получил более широкую трактовку. Определение доктрины фашистской идеологии, предпринятое лидером итальянских фашистов Бенито Муссолини, выполнено в стиле риторики публичных выступлений, где за пышной фразой скрываются лишь внешние признаки режима. В первую очередь, в «Одктрине фашизма» подчеркнуто тоталитарное господство государства, «по сравнению с которым индивиды и группы только «относительное». Государство здесь и является «творцом права», и «истолковывает и развивает всю народную жизнь», опираясь на религию и традиции. Объединяющим нацию (для Муссолини нация = государству) элементом в фашистском государстве, его «жизненным проявлением», становится борьба с внутренними врагами и внешняя экспансия 1 . Такую «самохарактеристику» нельзя считать исчерпывающей. Подобным образом и книга Гитлера «Майн кампф», тоже написанная с пропагандистскими целями, не дает достаточно информации для понимания основ германского национал-социализма. Уже со времени своего появления фашизм осознавался как явление, выходящее за пределы Италии, а также не просто как синоним тоталитаризма. Это определение стало стойко ассоциироваться не только с итальянским фашизмом, но и возникшем параллельно ему германским националсоциализмом, а также распространилось на диктатуру Франко в Испании, режим Салазара в Португалии, Хорти в Венгрии, Антонеску в Румынии, а

Палагута И.В. Лица далекого прошлого: мелкая пластика доисторических культур Болгарии в свете новейших исследований: Рец. на кн.: Ставрева В. Антропоморфна пластика от късния енеолит — възможности за интерпретация. София, 2024. // Terra Artis. Искусство и дизайн. 2024. № 4. С.157–162

by TERRA ARTIS. Art and Design. Scientific Journal and Ilia Palaguta