Indo-European ornamental complexes and their analogs in the cultures of Eurasia - страница 11

Ornament of Tripolie ceramics (Eneolithic)

Vologda lace

Before we turn to the materials of those cultures that replaced Trypillian and Yamnaya in the Bronze Age, i.e. to the Corded Ware cultures that emerged on the basis of the cultures of Corded Ware: Tshinetsko-Komarovskaya and Abashevskaya, Srubnaya and Andronovskaya, I would like to note that, paradoxically, many ornamental motifs characteristic of Tripillya and disappearing in subsequent genetically related Trypillian cultures survived until the 20th century no changes in the products of the North Russian peasant women. In this respect, the Vologda lace of the 19th century, or rather its peasant version, not designed for urban consumers, is of exceptional interest. In this form of folk art, a geometric layer coexisted at the same time – rhombuses, jibs, swastikas, meanders, and smooth, rounded meander combinations, almost absolutely identical to those of Tripoli.

The basis of the ornament in such lace, which is performed to decorate the ends of towels and valances of wedding sheets, is a dense, up to 1 centimeter wide, ribbon, very often saturated red, which, whimsically wriggling, builds a pattern, and, above all, a meander pattern. It is interesting that such a decorative solution is typical only for North Russian, and in particular, for Vologda lace (Table 3).

Kargopol gingerbread cookies 1977

Returning to the monuments of the Bronze Age on the territory of Eastern Europe, I must say that in Trzyniecko-Komarovska; In the ornamental complex, many elements of Tripillya ornamentation are widespread. Thus, on a cult vessel from the village of Pereshchepino, various rhombuses, a meander stripe, a swastika are presented; on ceramics with drawings and signs from Bondarikha there are all kinds of swastika elements, and on items from Vladimirovka rhombuses, swastikas of various shapes, oblique crosses and “jibs” are constantly repeated (Table 6).

S. S. Berezanskaya connects this ornamentation with the ritual, ceremonial side of the life of people of the Bronze Age. She writes: “It is possible that signs placed on them outside the ornamental system (crosses, rosettes, circles, shaded triangles and rhombuses), which were used as various magic symbols, testify to the cult purpose of some vessels”. The researcher notes that on many vessels of the Srubna culture there are signs that are similar in appearance to runes, which have analogues on the obviously cult objects-spinning wheels, “horned spindle wheels” and miniature “vessels” of the Trzhinets, Belogrudov, Milograd and Bondarikha Proto-Slavic cultures. A. A. Formozov connects these signs, among which there are often oblique crosses, swastikas of various configurations, jibs, with the addition of the peoples of these cultures of writing, which arose on a local basis by schematizing the elements of ornament.