The article highlights the features of visual representation and semantics of anthropomorphic, zoomorphic and solar signs on Bronze Age ceramics of the Baikal region. The connection of subjects and stylistic features between drawings on vessels and petroglyphs of the region is traced. There are four stylistic groups of anthropomorphic images on ceramics. A comparison is made between the drawings on vessels from the monuments of the Baikal region and those synchronous to them from Western Siberia - Samus. The similarity of subjects, visual and ideological stereotypes indicates broad cultural contacts that existed in the Bronze Age.

Keywords: ceramics, anthropomorphic, zoomorphic, solar symbolism, semantics, Bronze Age, Baikal region.

Introduction

During the transition period from the Stone Age to the Metal Age, elements of the solar-astral decorative complex (Sosnovoostrovsky, Ayatsky, Surtandinsky, Lipchinsky monuments) were actively introduced into the ornamentation of East Ural and West Siberian ceramics. In the Bronze Age, solar-astral symbolism in ornamentation reached its highest peak (Balanbash, Koptyakov, Sartyn, Samus, Fedorovsky, and other ceramic complexes) [Matyushchenko, 1973; Molodin, 1977; Kosarev, 1991].

On the territory of the Baikal region, anthropo-and zoomorphic drawings, as well as solar signs on the walls of vessels, are found in archaeological complexes of the Bronze Age (Studzitskaya, 1987; Goryunova and Vorobyova, 1993; Goryunova, 1995; Goryunova, 1996, 2004), although symbolic images on ceramics are quite rare for monuments of this region (Fig. 1). The most common anthropomorphic drawings are partially published by the authors of the finds (Okladnikov, 1971; Savelyev and Goryunova, 1971; Okladnikov and Mazin, 1976; Sokolov, 1996; Goryunova and Weber, 2003b). In general, figurative symbols on ceramics were not the subject of special research. The purpose of this paper is to summarize the available materials and consider the semantics of ancient images on the ceramics of the Baikal region.

Anthropomorphic images

Currently, eight vessels with anthropomorphic images from Bronze Age complexes in the Baikal region are known. Six of them were recorded in the following settlements: Plotbishche on the Belaya River, layer 1; Tyshkine III, layer 4; Ulan-Khada on Lake Baikal, layers 7 and 1 (layer B, according to M. P. Gryaznov); Tushama at the mouth of the right tributary of the Ilim River and Dolgaya on the Srednyaya Angara (Savelyev and Goryunova, 1971). Okladnikov and Mazin, 1976; Goryunova, 1984a; Goryunova and Khlobystin, 1992; Goryunova and Vorobyova, 1993; Sokolov, 1996]. One vessel was found in the sacrificial complex near the village of Shishkino on the Lena River (Okladnikov, 1971), and another in the destroyed pogrom. No. 4 burial grounds of Khadart IV on Lake Baikal (Goryunova and Weber, 2003b).

Ceramics with anthropomorphic images from layer 4 of Tyshkine III are represented by fragments of two vessels. It is not possible to talk about their shape and pattern composition due to the small size of the fragments. The surface is dashed.

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Figure 1. Map-layout of archaeological sites of the Bronze Age of the Baikal region, where ceramics with anthropomorphic, zoomorphic and solar images were found.

1-Ulan-Khada; 2-Tyshkine III; 3-Khadarta IV; 4-Shishkino village; 5-Gorely Les; 6-Plotbe; 7 - Shiversky burial ground; 8 - Dolgaya; 9 - Tushama; 10-Chadobets.

2. Ceramics of the Baikal region with anthropomorphic images.

1, 2-Tyshkine III; 3 - Tushama; 4-Dolgaya, 5-Ulan-Khada; 6-Plotbishche; 7-Shishkino village; 8-Khadarta IV.

Fragments from the upper horizon show two anthropomorphic characters with drawn lines (Figs. 2, 7). In the place where the heads are depicted, the fragment is broken off. The torso is marked with two parallel lines. The arms and legs shown in a single line are spread apart at a slight angle.

On the vessel fragment from the lower horizon, an anthropomorphic pattern is made with stamp indentations (Figs. 2, 2). The torso is transmitted by two parallel lines, from which straight arms extend at a certain angle; they are indicated by a single line. In the place of the head and legs, the vessel is broken off.

Ceramics from the Tushama settlement (Figs. 2, 3). Judging by the publication [Okladnikov and Mazin, 1976], the ceramics are dashed. On the body of the vessel at a distance from each other - four anthropomorphic figures. The images are stylized and made with stamp indentations. The torso is shown as a single line. The legs are not highlighted. Arms - in the form of double parallel lines located perpendicular to the body. The head is marked with a fork (horns).

The vessel from the settlement of Dolgaya has a simple closed shape (Figs. 2, 4). Fragments of the bottom are not recorded. The surface is dashed. Along the corolla runs a belt of "pearls", below which, at a distance of about 3.5 cm, anthropomorphic stylized figures are depicted with drawn lines. They are a vertically elongated rhombus, from the corners of which there are notches that symbolize the head, arms and legs of a person.

A vessel from layer 1 (layer B) of Ulan-Khada with a simple closed shape (Fig. 2, 5). The bottom is not preserved. The diameter of the corolla is 11.5 cm, the body is 17 cm. The corolla is thickened with a "collar". The surface is dashed. The ornament consists of four horizontal rows of inclined impressions of stamp indentations. Below is a composition that includes images of two anthropomorphic characters holding hands and placed on the ground.

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Fig. 3. A vessel with anthropomorphic images from the Plotbe settlement (photo by E. Korshunov).

on either side of them are buildings made up of short horizontal and sloping rows. The pattern is applied with stamp indentations. Anthropomorphic drawings are made in the same manner. The body is straight, made up of four vertically standing columns formed by short horizontal lines. At the bottom, the columns separate and form short straight legs. The arms are drawn away from the body at an angle. With one hand (it is shown by double lines), the characters hold on to each other, while their other hand (made with a single line) is free. Instead of the head, there are four vertical lines that extend the body; they go into the horizontal rows of the ornamental field.

The vessel from layer 1 of the Plotting area is a simple, closed-shaped, sharp-bottomed vessel (Figs. 2, 6; 3). Its height is 30 cm, the diameter of the corolla is 18 cm, the body is 21.5 cm. The surface is dashed. The upper plane of the corolla is decorated with finger compressions, and notches are made along the inner edge. The corolla is encircled by "pearls" grouped in paired vertical rows (three "pearls" in a row). Below, in the middle part of the body of the vessel, there are anthropomorphic drawings (four figures around a circle). Images of a person are sketchy, plotted with drawn lines. All figures are made in a single stylistic manner. The elongated torso is shown by a single line ending at the bottom with a fork-legs. Instead of the head - two lines forming a fork (horns). At 1.5 - 2.0 cm below the head, straight arms are shown, they are located at an angle to the body.

The vessel from the sacrificial complex near the village of Shishkin is sharp-bottomed, simple closed shape (see Figs. 2, 7). Its height is 13 cm, the diameter of the corolla is 10 cm, and the body is 11.5 cm. The surface is smooth. On the torso - five anthropomorphic figures made with drawn lines. The images are stylized: the head - in the form of a wide rhombus; the body - in the form of an elongated isosceles triangle, turned down with the vertex: the arms and legs are not marked. Anthropomorphic drawings are placed in three groups: two pairs and a single one.

Vessel from the border. N 4 Hadarts IV of a simple closed shape with a slightly bent corolla (see Figs. 2, 8; 4). The bottom is not preserved. The diameter of the corolla is 11.5 cm, the body is 15.5 cm. The surface is dashed. The crown is decorated with a belt with two "pearls" located under each other. Below, along the entire circumference of the torso, anthropomorphic images are drawn with drawn lines (probably there were 12 of them, but 10 have been preserved). Stylized drawings. The heads are shown in the form of a rhombus, the body - in the form of an elongated isosceles triangle, with the vertex facing down. The arms, marked with straight lines, are drawn in different directions at an angle to the torso. Persona-

4. A vessel with anthropomorphic images from the burial of the burial ground of Hadart IV (photo by E. Korshunov).

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zhi hold each other's hands, forming a round dance around the vessel. Two short vertical lines are drawn between the figures (under the hands). Among the identical, conventionally interpreted anthropomorphic figures, one of the largest stands out; one of its arms is shown by a double line. This is undoubtedly the leading character of the composition.

Solar symbols

Vessels with solar symbols on the territory of the Baikal region are known mainly in the complexes of settlements: Gorely Les (layer 2), Chadobets, Ulan-Khada, upper layer 1 (Savelyev, Goryunova, Generalov, 1974; Fedyushin, 1976; Goryunova, 1984b, 1996). One vessel was recorded in border No. 1 of the Shiversky burial ground (Okladnikov, 1975, pp. 122-123). Solar signs are presented in the form of an oblique cross, which is made most often with drawn lines (four vessels), less often with impressions of a receding spatula (one vessel).

A vessel from the upper layer of Ulan-Khada 1 of a simple closed shape, with a slightly bent corolla (Figs. 5, 7). The bottom is not preserved. The diameter of the corolla is 20.5 cm, the body is 24 cm. The surface is smooth. The upper part of the vessel is ornamented. The composition consists of three horizontal rows of nail pinches, torn along the circumference of the vessel with four solar symbols. The latter are oblique crosses made with double drawn lines.

Fragments of a vessel from the upper layer 1 of Ulan-Khada (Figs. 5, 2). The surface is smooth. Solar signs are drawn on the torso in the form of lines intersecting with a cross. Below are horizontal rows of rectangular stamp impressions.

The vessel from border No. 1 of the Shiversky burial ground is round-bottomed, simple closed shape (Figs. 5, 3). The vessel height is 13.5 cm, the diameter of the corolla is 11, the body is 12 cm. The surface is smooth. The ornament covers the entire vessel. The pattern consists of horizontal drawn lines, between which there are rows made up of impressions of an oval stamp. Solar symbols are drawn on the bottom of the vessel with lines intersecting with a cross.

A vessel made of layer 2 of Burnt Wood of a closed shape, with a slightly bent corolla (Fig. 5, 4). The bottom is not preserved. The diameter of the corolla is 32 cm, the body is 34 cm. The surface is dashed. The ornament is located in the upper part of the vessel. The composition consists of a belt of "pearls", under which are solar symbols in the form of an oblique cross, made with a receding spatula with a rounded end.

The vessel from the settlement of Chadobets is round-bottomed, with a simple closed shape (Fig. 5, 5; 6). Its height is 28 cm, the diameter of the corolla is 20, the body is 24 cm. The surface is smooth. Ornament from the belt of "pearls", under which there are solar signs in the form of oblique crosses. Images are drawn with drawn lines.

5. Ceramics of the Baikal region with solar symbols.

1, 2, 6-Ulan-Khada; 3 - Shiversky burial ground; 4-Gorely Les; 5-Chadobets.

6. A vessel with solar symbols from the settlement of Chadobets (photo by E. Korshunov).

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Zoomorphic and solar images

On the territory of the Baikal region, in Bronze Age complexes, one vessel is known with zoomorphic images, which together with solar signs make up the composition [Petri, 1916; Khlobystin, 1964, p. 31].

The vessel from layer 7 of Ulan-Khada has a simple closed shape (see Figs. 5, 6). The bottom has not been preserved. The diameter of the corolla is 25.5 cm, the body is 27 cm. The surface of the vessel is dashed. The ornament consists of double oblique crosses and images of snakes. The drawing is arranged in a single line. Snake figures are placed vertically. The reptile is depicted with a diamond-shaped head facing up. The torso and tail are shown as a zigzag line. The entire pattern is made in the drawing technique.

Discussion of materials

All known anthropomorphic, zoomorphic and solar images on ceramics in the Baikal region are associated with complexes of the Bronze Age (mainly developed and late periods). The drawings are applied to typical vessels with round and sharp bottoms (dashed and smooth surfaces, ornaments in the form of "pearls" and nail pinches). The appearance of figurative symbols on ceramics indicates the complication of the cult views of the ancient population.

An important place in the art of the Bronze Age of the Baikal region was occupied by the image of a person. Its appearance marked the beginning of a new stage in the development of primitive ideology and the definition of the role of man in the world around him. Anthropomorphic images appear not only in rock paintings and small sculptures, but also on the walls of vessels.

Images of people (or spirits) on the ceramics of the Baikal region have individual artistic features, but at the same time they are similar to each other in a number of ways: all figures are shown schematically, placed frontally, in full growth, arms and legs are straight, mainly at an angle to the body (lowered down). Drawings are most often made with drawn lines (on five vessels), less often with stamp indentations (on three vessels). Figures differ in their features and manner of transmitting the image. You can select several stylistic groups of images:

The first group is represented on four vessels: a human figure marked with one, two or four parallel lines in place of the torso, from which straight lines - arms and legs-extend in different directions (at a certain angle). The latter are made mainly in one line. The head is shown as a fork (horns) with four straight lines extending into the ornamental field, fragments of two vessels in the place of the head image are broken off. Drawings are marked on ceramics from archaeological sites of the Priolkhon region (Lake Baikal). Lake Baikal) and the Angara region.

Horned anthropomorphic figures depicting people or spirits in human form are very often found on petroglyphs in Eastern Siberia, primarily in the Baikal Region, dating back to the Bronze Age (Okladnikov, 1959, 1966, 1974). The most monumental drawings are presented on the rocks in the bay of Sagan-Zaba on Lake Baikal. The monument is characterized by a frontal image of horned dancing men. They have round heads and fork-shaped horns; in some cases, fork horns completely replace the head. According to the peculiarities of interpretation of the image, these drawings were compared by A. P. Okladnikov with the scribbles of the lower Angara and Lena rivers (Bratsk Ring Road on the Oka River above Bratsk, Third Stone Island on the Angara River, Shishkin scribbles on the Lena River, etc.). Combining features of these rock carvings with images on ceramics of the first group are: the frontal location of anthropomorphic figures shown in full growth, with horns in the form of a fork. However, in rock paintings, characters are depicted, as a rule, with their arms raised and legs bent (as if in a dance). They are also distinguished by the style of the torso image. Drawings on ceramics are more simplified and schematic. According to A. P. Okladnikov, horned, dancing figures in rock carvings should be interpreted as images of shamans performing ritual dances in special caps- "crowns" (1974, p. 79).

The second group is represented on two vessels: an image of a person with a torso in the form of an elongated isosceles triangle (turned upside down) and a wide rhombus instead of a head. Two variants of figures are marked: without hands and with hands in the form of straight lines drawn at an angle to the torso. In both cases, the legs are missing. Drawings of this group are recorded on the objects of the upper Lena and Priolkhonye.

Similar sharp-headed images are found in small bone sculptures in the Baikal region (Ust-Ilga, Kullaty, Bratsk Kamen, etc.) [Okladnikov, 1955, p. 290-292]. As noted by A. P. Okladnikov, in the past most forest tribes of Siberia had widely distributed pointy-headed images of spirits, which probably repeat the shape of wooden idols in the form of hewn pointed stakes, which were preserved in a number of tribes until the XIX-XX centuries [Ibid., p. 294].

One vessel with sharp-headed (rhombic) anthropomorphic figures was found near the village of Shishkino in a cult complex associated with hunting; the drawings on it were interpreted by A. P. Okladnikov as images of spirits who help the hunter-

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such as Bayanaya or Egekenna, which is known in the mythology of the Yakuts and Evenks [1971, p. 201].

Anthropomorphic images completely encircling the vessel from the burial ground of Khadart IV probably convey a ritual round dance such as the Buryat yehor, Evenki nepirye, or Yakut osuohai (Okladnikov, 1966, p. 130). During this traditional dance, the dancers, tightly holding hands, walk in a circle to short measured exclamations. The plot of the round dance is reflected in the Bronze Age rock carvings on the Second Stone Island on the Angara River [Ibid., p. 129, 232, Table 88] and in later medieval drawings of Shishkin's writings [Okladnikov, 1959, p. 120, Fig.67]. The cult significance of dance in the shamanic rite among the Buryats was described by B. E. Petri: the Buryats dance in circles (like the sun) and believe that not only people, but also spirits, and shamanic deities themselves take part in such dances [1928, p.64-65].

The third group is represented on one vessel: a figure in the form of a straight line; hands are shown with double lines located perpendicular to the body; instead of the head - a fork (horns). The last element brings the drawing closer to the images on the vessel made of Carpentry (the first group). The pattern on the ceramics of the third group was found on the Ilim River.

A similar interpretation of the torso, arms, and head is found in the Bronze Age ceramics of Yakutia - layer 7 of the Ulakhan Segeleny settlement (Alekseev, 1996, p. 140, Table 42) and a bronze openwork plaque from border No. 1 of the Kurma XI burial ground on Lake Baikal (Goryunova and Weber, 2003a). On the badge, the anthropomorphic figure is enclosed in a circle - the sun (universe), which probably confirms its cult (shamanic) significance. Perhaps it reflects the shaman's ideas about the connection between the spirit world and the earthly, human world.

The fourth group is represented on one vessel: an anthropomorphic figure in the form of a rhombus, from the corners of which straight lines depart, depicting the head, arms and legs of a person. The drawing is made on a vessel with water on the middle Hangar.

All the anthropomorphic images considered are associated with a complex of shamanic representations; they are probably deciphered as guardian spirits, and vessels with such drawings belong to cult ones [Okladnikov, 1971; Goryunova and Vorobyova, 1993; Alekseev, 1996; Goryunova, 2004].

Vessels with solar symbols, which occupies a large place in the art of the Bronze Age of the Baikal region, should also be attributed to cult dishes. The sun on ceramics was depicted in the form of an oblique cross. The drawing was applied, as a rule, with drawn lines (on one vessel - with a receding spatula). A similar interpretation of the image is also found in rock carvings of the Angara region: Manzya, Pervy Kamenny Ostrov, Kamenka-Erguleyka [Okladnikov, 1966, p. 174, tab. 30, 171, 172, 314, 315]. A. P. Okladnikov saw a similarity between these drawings and the Evenk shamanic ornament in the form of crosses depicting luminaries. same, p. 140].

Ornamentation with solar symbols conveys ideas related to ideas about the universe. According to M. F. Kosarev (1984, pp. 211-212), solar signs could symbolize not only the sun, but also the sky and the upper world. Worship of the sun, from the researcher's point of view, expresses faith in good and light, as well as rebirth. West Siberian aborigines believed that the sun protects people from evil spirits and dangers. In the beliefs of the Buryats (Dolamaist), the sun is the creator of life on earth; it gives a "vital beginning" [Galdanova, 1987, p.42].

In this regard, the combination of solar symbols and snake figures-a symbol of the underworld - on one vessel (layer 7 of Ulan-Khada) is of interest. The image of the snake is widely represented in the Bronze Age rock paintings of Eastern Siberia: Aya and Sagan-Zaba on Lake Baikal, the Second Stone Island, Bolshaya Kada on Angara, etc. [Okladnikov, 1966, Tables 81, 93, 164; 1974, Tables 23, 26]. In the Kamenka-Erguleyka locality, it was combined with solar symbols, as in Ulan-Khadyn ceramics [Ibid., Table 172]. Images of snakes are common on shamanic costumes, tambourines and mallets, as well as on ritual drawings on ongons [Vasilevich, 1969, p. 256; Studzitskaya, 1987, p. 320]. Among the Evenks, Selkups, and Kets, the image of a snake was associated with the land of the dead, symbolizing the lower world of the universe (Kosarev, 1984, p.192; Mazin, 1984, p. 70). Probably, the combination of solar symbols and images of snakes on ceramics and in rock paintings reflects the development of ideas about the world, the confrontation of good and evil, about the upper and lower spheres of the universe, which are in the closest relationship and interdependence.

Conclusion

Anthropomorphic, zoomorphic and solar images appear in the art of the Bronze Age of the Baikal region (especially in the developed and late stages). They are widely represented in sculpture of small forms, drawings on rocks and cult ceramics. Through these images, ancient man expressed his understanding and attitude to the world around him and the universe. In terms of stylistics and manner of rendering images, the drawings on cult ceramics and rocks are most similar; they probably carried the same semantic load. The symbolism of anthropomorphic and solar drawings indicates the complexity of religious beliefs. Their main content is related to ideas about shamans

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as intermediaries between the worlds of spirits and people [Okladnikov, 1974, p. 99].

There is a certain similarity between the drawings on ceramics and anthropomorphic and solar images known in the Baikal region, the Bronze Age cultures of Western Siberia (especially Samus) and Yakutia (Matyushchenko, 1973; Kosarev, 1984; Studzitskaya, 1987; Alekseev, 1996). They are united by the commonality of the plot and its technical implementation. The differences manifest themselves in the iconographic canons and stylistic traditions of image reflection. This, in our opinion, indicates the similarity of mythological representations among the population of Eastern and Western Siberia of the Bronze Age, probably due to ethno-cultural contacts.

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The article was submitted to the Editorial Board on 27.02.09.

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