АЖУРНАЯ ОРНИТОМОРФНАЯ МЕТАЛЛОПЛАСТИКА КУЛАЙСКОГО И САРОВСКОГО СВЯТИЛИЩ: К ПРОБЛЕМЕ ГЕНЕЗИСА КУЛАЙСКОГО СТИЛЯ

• Main Author: ПАНКРАТОВА ЛЮДМИЛА ВЛАДИМИРОВНА
• Format: Text
• Language: unknown
• Published: Федеральное государственное бюджетное образовательное учреждение высшего профессионального образования «Национальный исследовательский Томский государственный университет» 2016
• Subjects: РАННИЙ ЖЕЛЕЗНЫЙ ВЕК,КУЛАЙСКАЯ КУЛЬТУРА,БРОНЗОВАЯ МЕТАЛЛОПЛАСТИКА,ИЗОБРАЗИТЕЛЬНЫЙ СТИЛЬ,ИЗОБРАЖЕНИЯ ПТИЦ,EARLY IRON AGE,KULAI CULTURE,BRONZE REPOUSSAGE,ICONIC STYLE,IMAGES OF BIRDS; ob river; Tagar culture
• Online Access: http://cyberleninka.ru/article/n/azhurnaya-ornitomorfnaya-metalloplastika-kulayskogo-i-sarovskogo-svyatilisch-k-probleme-genezisa-kulayskogo-stilya; http://cyberleninka.ru/article_covers/16938209.png

Исследуется бронзовая орнитоморфная металлопластика из Саровского и Кулайского святилищ кулайской культуры. На основе анализа стандартных блоков бронзовых изображений, выполненных в технике плоского ажурного и плоского с элементами рельефа литья, выделены стилистические признаки кулайской изобразительной традиции. Высказана гипотеза о том, что формирование кулайского изобразительного стиля базировалось на автохтонной энеолитической, сейминско-турбинской и самусьской традициях эпохи бронзы при участии скифского компонента. Flat openwork and flat ornithomorphic repoussage with relief elements of Kulai culture is original from Middle Ob, Ob-Yenisei inter-fluves and Irtysh territory. The most part of the artifacts was found in Narym territory near Ob River at Kulai and Sarovka Sacred Sites. Analysis of images of birds from these sacred sites allowed to reveal some elements of Kulai style and to identify their genesis. The birds' images are made in profile and full-face. There are single object-images, and multi-shaped frieze and heraldic compositions. These artifacts have a number of common elements in image interpretation. They have profile turned Г-shaped heads. Their eyes were made in the form of hole-like elements, relief ridges, and less often hemispheres. Bodies have a geometric shape. On the narrow wings there are triangular-like feathers. A pattern inside the enclosure contour or on the bird's body is stylistic element. The Г-shaped head goes back to the Eneolithic traditions of the region. The same form we can see in Early Elovka and Samus cultures of the developed Bronze Age in the territory near Ob River. Other decoration elements as a pair of parallel lines at the junction of the head and neck, parallel lines on the neck, narrow arcuate-shape wings raised over the body, and lines inside the body, connecting the inner oval and contours, also go back to Samus style. The way to image the eyes in the form of hemispheres and relief ridges, covering the surface, dates back to Seima-Turbino style. While the eye contour adjoining to forehead line and the bird's ear located next to its eyes (griffin) from Sarovka Sacred Sites are signs of the Scythian animal style. The genesis of such decoration elements as a "loop" on the bird's body may have come to Kulai style after rethinking and restyling of Samus symbols. The combination of images of birds with lattice patterns in decoration of bronze "diadems", found at sacred sites, may be a reminiscence of Seima-Turbino style in Kulai arts. Similar phenomena are identified in the animal style Tagar culture. We may assume that combinations of Samus, Seima-Turbino and Scythian styles became a basis for Kulai iconic style. Openwork repoussage art reflects the first stage of Kulai style development. Further we can observe development of the new decoration methods, which moved beyond the cultural phenomenon and became the basis for fine arts not limited by epoch.