Mobile art objects of the Early and Middle Bronze Age of the forest-steppe Ob-Irtysh region demonstrate a high artistic level of performance. This applies primarily to zoomorphic sculptures on stone pestles, handles of bronze daggers, L - shaped pommels made of bone and horn. Profile images mostly of animals and birds predominate. The most common image of a horse is depicted in stone and metal. This allows us to judge the significant role that the horse played in the economic and religious life of society in this era. Most images of the head of a person, as well as a person with a horse, a group of animals tend to be Irtysh. Probably, it was there that this tradition was born and spread.

Keywords: forest-steppe Ob-Irtysh region, early and Middle Bronze Age, small plastic, pestles, pommels, knives, pendants, stone vessel, artistic image, anthropomorphic and zoomorphic subjects, horse, bird, man, ram, bull, pictorial tradition, profile and full-face images.

Introduction

The current level of research of monuments of the forest-steppe and steppe Ob-Irtysh region at the end of the third and first half of the second millennium BC allowed, along with the development of historical, cultural, ethnogenetic, and economic issues, to begin to consider the features of art [Molodin, 1992; Kiryushin, Kungurov, and Tishkin, 2002; Kiryushin, Grushin, 2007]. The main sources are small plastic, ornaments, ornaments, i.e. objects of mobile and decorative arts. Special attention in scientific publications has been paid to finds related to the Seimin-Turbin and Samus visual traditions [Pyatkin and Miklashevich, 1990; Bobrov and Kovtun, 2002; Kovtun, 2006; Esin and Ozheredov, 2008; Molodin, 1992; etc.]. Recently, the number of art objects originating from the designated territory has increased significantly. it has grown significantly. This was facilitated by intensive field research. Thus, there is a need to summarize all available materials on this topic, publish them in a high-quality manner, and analyze them.

Stone objects of mobile art

The largest group of small plastic items consists of stone products. The original sculpture of a sitting bird of prey with folded wings, made of brown jasper, was discovered in the settlement of Berezovaya Luka (Fig. 1, 3; 2, 5). She has a strongly protruding breast, a well-defined head, wings and belly, and feathers are marked with cuts. Product height 2.5 cm, diameter approx. 2 cm. A biconical mounting hole is drilled in the center. Features of manufacture and decoration, as well as signs of wear and tear indicate that, most likely, the object was rather rigidly attached to the leather base (headdress?). The left side of the product is more polished than the right.

The work was carried out within the framework of the Federal Target Program "Scientific and scientific-pedagogical personnel of innovative Russia", project N2009 - 1.1 - 301 - 072 - 016 "Comprehensive historical research in the study of Western and Southern Siberia from ancient times to the present".

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1. Zoomorphic stone sculpture from the forest-steppe Ob-Irtysh region.

1-Kolyvanskoe I (according to [Alyokhin, 1999]); 2-Omsk (according to [Moshinskaya, 1952]); 3-Berezovaya Luka (according to [Kiryushin, Maloletko, Tishkin, 2004]); 4-Ust-Kamenogorsk (according to [Slavnin, 1949]); 5-Semipalatinsk (by: [Chernikov, 1960]); 6, 7, 9, 10 - Shipunovo V (according to [Kiryushin and Ivanov, 2001]); 8-Itkul (according to [Kiryushin, 2002]).

2. Stone sculpture of the Bronze Age from the forest-steppe Ob-Irtysh region (photo by I. V. Kovtun, I. V. Merts, P. I. Shulga).

1 - 4-Shipunovo V; 5-Berezovaya Luka; 6-Savvushka village.

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This may indicate that the figure is attached to the profile, with the beak to the left. This angle was most likely recognizable and in demand. This is also emphasized by the greater expressiveness of the bird's image when considering the sculpture in profile.

It should be noted that the left side had an important ideological significance for the Yelunin population. This was already noted earlier in the analysis of the funeral rite recorded in archaeological complexes - the placement of the deceased in the grave pit on the left side, with the "turned gaze" to the left (Grushin, 2001, pp. 50-51). Sculptural images of birds of prey in a sitting position and with folded wings are extremely rare in Siberia, unlike waterfowl. The image of a bird is widely represented in the rock art of the Sayano-Altai region since at least the Eneolithic period (Chigaeva, 2004, p. 402). In the Volga-Oka interfluve, bone figures of birds are known on monuments of the Volosovo culture of the third millennium BC, which were patches on clothing or pendants (Yemelyanov and Kashina, 2004). Images of birds are found on Samus ceramics (Kosarev, 1981, p. 254). According to S. S. Moskvitin, an early Bronze Age ceramic vessel from the Tukh-Emtor IV settlement depicts a bird of prey, most likely a white-tailed eagle, an osprey, or a kite (a tap sculpture) [Kiryushin and Maloletko, 1979, Fig. 13, 1, p. 33]. Heraldic images of eagles are found on amulets-seals of the second millennium BC, originating from Margiana (Sarianidi, 2004, Fig. 6). Bird sculptures are known among various peoples of Siberia. Thus, the Altai-Kizhi people made wooden figurines that served as" assistants " to the shaman (Ivanov, 1979, p. 85). Birds of prey are associated with a large number of myths and ideas among many peoples of Eurasia. They are known in the Avesta and Rig Veda, in the mythology of Turkmens [Gundogdiev, 2004, p. 225], Finno-Ugric peoples [Kosarev, 1981, p. 254], etc. Despite the large number of images of birds in archaeological and ethnographic materials, the stone bird from the Birch Bow remains a unique object of mobile art. Disclosure of its semantics is a separate research topic.

In the materials of the Bronze Age of the Ob-Irtysh region and beyond, there are known products that are interpreted by researchers as wands or pestles. They are stone rods with a sculptural image on one end. Several similar items have been found in Altai. Pest from oz. The itkul (Kiryushin, Kungurov, and Tishkin, 2002, Figs. 1, 4) was crowned with a sculptural image of a bear's head with its muzzle raised up (see Figs. 1, 8). The product is 38.5 cm long and tapers evenly to the top. Four pestles originate from the ruined burial site of the Shipunovo V burial ground. One piece has a complex rod design (see Fig. 1, 9; 2, 2, 4), the rest are crowned with sculptural images of a horse's head (see Fig. 1, 6; 2, 1, 4), ram (see Figures 1, 7; 2, 3, 4), snakes (?) (see figure. 1, 10; 2, 4). A bull's-head pestle was found in the Kolyvanskoe I settlement (see Figures 1, 1) [Alyokhin, 1999, Figures 5, 1]. A series of similar items originated in the Upper and Middle Irtysh region. These are stone pestles with pommels in the form of a horse's head from Ust-Kamenogorsk (see Figs. 1, 4) and Semipalatinsk (see Fig. 1, 5). One stone pommel in the form of a horse's head was found in Omsk (see Figures 1, 2).

Another type of stone pestles are objects with sculptural images of a person's head at the top. Most of these finds are associated with the Irtysh region. The Pestles come from the vicinity of c. 2, 6; 3, 3) and Semipalatine-

3. Anthropomorphic sculpture from the forest-steppe Ob-Irtysh region.

1-Korablik I (according to [Grushin and Kokshenev, 2004]); 2-Zaisan (according to [Kiryushin, 2002]); 3-Savvushka (according to [Kiryushin, 1991]); 4, 5 - Semipalatinsk region (according to [Margulan, 1979; Chenchenkova, 2004]); 6-p. Ir (according to: [Moshinskaya, 1952]); 7-p. Tui (from Moshinskaya, 1952). 1 - bone, 2-bronze, the rest-stone.

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4. A stone vessel with a hunting scene from the village of Laptev Log (view from three sides).

3, 4). Two anthropomorphic pommels of "wands" or "scepters" are known: a stone one from the Tui River (Figs. 3, 7) and a bronze one from the Zaisan Museum of Local Lore (Figs. 3, 2). A stone pestle from the Ir River (a right tributary of the Irtysh) is crowned with a sculptural image of two human heads oriented in different directions (3, 6). The pommel of a pestle from the Semipalatinsk region is originally designed (Fig. 3, 5): a human face is made in relief, and a sculptural image of the head of an animal (ram?) hangs over it. A. P. Okladnikov and S. V. Studzitskaya attributed these products to the circle of totem-phallic objects [Okladnikov, 1950, p. 331; Studzitskaya, 1969, p. 62]. Such pestles could be used for performing certain ritual actions, such as rubbing some plants. Stone pommels in the form of horse faces are widely distributed in the Eneolithic and Early Bronze Age monuments of Eastern Europe; they are interpreted as part of composite "scepters" (Dergachev, 2007).

A unique object of art is a find from the village of Laptev Log (Kiryushin, 2002, figures 132-136). On the body and bottom of the stone jar there is a scene of a bull hunt (Figs. 4, 5). The figure of a man shooting a bow is located at the bottom, and a curved bow with an arrow is already in the bottom part, under the belly of the bull depicted on the body. There's another arrow stuck in the back of the animal's neck. The bull is being held by two dogs: one clinging to the muzzle, the other to the back. The image of the bull is made in a peculiar Okunev manner and finds the closest analogies in Okunev materials and art of the Okunev period in Southern Siberia and the south of Western Siberia. Behind it are placed one above the other two figures of low horses with a short body, but with a large head and protruding ears, which is characteristic of the Early Bronze Age, the circle of Seimin-Turbinsky-type cultures of the south of Western Siberia and Eastern Kazakhstan. Above the bull figure is a stylized image of a running maral. In the upper part of the vessel, three goats are depicted, among which there is a mountain goat with curved horns, chased by two dogs and a striped predator. The hunting scenes and the set of animals themselves are typical of more southern, perhaps foothill, areas. And, most likely, this vessel can be associated with the alien population or the already formed Yelunin population.

5. Drawing of a stone vessel with a hunting scene from the village of Laptev Log (1) and its development (2) (according to [Kiryushin, 2002]).

Bone and horn mobile art objects

Small plastic made of bone and horn on the Ob-Irtysh monuments of the Early Bronze Age is represented by several categories of products. The most numerous is the so-called L-shaped finials. Each such find is unique in its morphological and iso-logical features.-

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6. Bone finials from the forest-steppe Ob-Irtysh region:

1-Chumysh (according to [Kungurov and Gorbunov, 2001]); 2-Sopka II (according to [Molodin, 1985]); 3-Preobrazhenka-6 (according to [Molodin, Chemyakina, Pozdnyakova, 2007]); 4-Kalinovka-2 (according to [Kiryushin et al., 2005]).

7. Bone pommel of a staff from the Chumysh River (photo by A. A. Tishkin).

specific features. However, three types of products can be identified. The first one is characterized by the absence of additional pictorial elements. One item of this type originates from the Kalinovka-2 monument (Kiryushin et al., 2005, Figures 1, 3). It is made roughly, without additional processing, and has a hole for mounting (Fig. 6, 4). Due to these features, it can be assumed that such items were the most functional from a practical point of view.

The second type of items is represented by two finials found in closed burial complexes of the Sopka II burial grounds [Molodin, 1985, fig. 27, 5] and Preobrazhenka-6 [Molodin, Chemyakina, Pozdnyakova, 2007, fig. 1]. They are made in the form of the head of a bird of prey (raven?) and they are characterized by the presence of realistic visual details. For example, the item from the Sopka II burial ground shows a powerful relief beak, a decorated head and eye (Fig. 6, 2). The product from Preobrazhenka-6 is distinguished by a more elegant and careful elaboration of details. The eyes are marked with carved rims, the feather ears are shown with teardrop-shaped ornaments (Figs. 6, 3).

The third type of pommel is represented by a single random find from the Prichumysh region (Figs. 6, 1; 7). The pommel resembles the head of a bird with a curved beak. One side (front) of the product is well polished and decorated with ornaments. At the bend of the pommel, three carved S-shaped figures with spirally twisted ends are applied. Below on the vertical part of the object there are transverse belts, of which the upper two are filled with cut-out triangles, which gives the drawing the appearance of a curving snake (Kungurov and Gorbunov, 2001, p. 117).

The question remains: what is the reason for the different types of pommels - chronological, cultural-local, or functional reasons? Researchers attribute the item from the Sopka II burial ground to the Krotovo culture (Molodin, 1985, p. 56), and a random find from Chumysh to the Elunin culture (Kiryushin, Kungurov, and Tishkin, 2002, Fig.4). In the Preobrazhenka-6 burial ground, together with the pommel, ceramics close to Odin's were found (Molodin, Chemyakina, Pozdnyakova, 2007, p.340). Ceramics were also found at the Kalinovka-2 settlement along with the finial, and judging by the published fragments, it is also similar to Odin's (Kiryushin et al., 2005, Figs.1, 6, 7). Thus, we can assume that the products of the first two types are chronologically earlier. The item from Chumysh was found outside the complex, so its connection with the Yelunin culture requires additional justification. Due to its stylized and ornamental richness, this product can be attributed to a later time.

L-shaped finials are widely represented in the archaeological materials of Eurasia since the epoch of

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Figure 8. Images on metal knives, daggers and ornaments from the forest-steppe Ob-Irtysh region.

1-Kurchum (according to: [Samashev, Zhumabekova, 1993]); 2, 9-Charysh (according to: [Kiryushin, Shulga, Grushin, 2006]); 3-Shemonaikha (according to: [Samashev, Zhumabekova, 1993]); 4-Elunino I (according to: [Kiryushin, 1987]); 5-Jumba (according to [Chernykh and Kuzminykh, 1989]); 6, 8-Rostovka (according to [Matyushchenko, 1970]); 7-Ust-Muta(according to [Kireev and Kudryavtsev, 1988]); 10-Chesnokovo I (according to [Kiryushin, Shulga and Grushin, 2006]).

mesolithic period. They embodied images of various animals. S. V. Studzitskaya considers "wands-staffs" with such finials totemic attributes of tribal power. Their owners were men with a high social status, whose functions included performing certain religious rituals [Studzitskaya, 2004, p. 252]. The use of staffs with such pommels is also confirmed by numerous parallels in the Bronze Age petroglyphs of Northern Eurasia (Smirnov, 2004).

One of the original bone objects of small plastic can be called an "anthropomorphic sculpture" from the burial ground Korablik I [Grushin. Kokshenev, 2004]. Product length 20 cm, maximum width 5 cm. This is a silhouette of a person with a decorated head, shoulders, knees (?). The arms and legs are not drawn. The image is one-sided and carved. Rounded eyes (small depressions), eyebrows, the continuation of the lines of which forms the nose; cheekbones, hair in the form of relief rays are shown (see Fig. 3, 1). Individual elements of the image have wide cultural and chronological parallels in monuments

However, their combination is not observed anywhere, so the item from the Korablik I burial ground can be considered unique at the moment. The closest monuments are, in our opinion, Okunevskie of the Minusinsk basin and Karakolskie of Gorny Altai.

According to E. B. Vadetskaya, Okunev bone plates and steatite figurines could be parts of some fur, leather or rag dolls. Based on data on the ethnography of the indigenous peoples of Siberia, the researcher suggested that they were images of deities, patrons of fertility; receptacles of souls waiting for their rebirth in a newborn. At the same time, E. B. Vadetskaya does not exclude their use as toys [Vadetskaya, Leontiev, Maksimenkov, 1980, p. 71]. M. L. Podolsky, who drew attention to the "verticality" of images, considers such figures to be images of deities or deified ancestors - intermediaries in communication with the heavenly forces [1997, p.187]. According to S. V. Studzitskaya, such objects from Glazkov burials served as pendants on shamanic costumes and were interpreted by ancient people as spirits-assistants of shamans [1981, p. 41; 2002, p. 143]. Galich idols are treated similarly [Studzitskaya and Kuzminykh, 2001, fig. 5, p. 146].

Images made in metal

Among the bronze knives with a pommel in the form of a sculptural or flattened image, two groups can be distinguished. The first group includes a knife from the Elunino I burial ground (Figs. 8, 4; 9, 4) and a random find from the vicinity of Ust-Muta village in Gorny Altai (see Figs. 8, 7). The pommels of their handles depict the head of a "sun horse" resting on four or five rays (Kiryushin, 1987; Kireev and Kudryavtsev, 1988). The second group consists of products with solid realistic anthropo-and zoomorphic figures. A well-known knife from the Rostovka burial ground (see Figures 8, 6, 8) shows a skier using the reins to control a horse (Matyushchenko, 1970). The pommel of a knife from the village of Jumba in Eastern Kazakhstan (see Figs. 8, 5) shows a scene of confrontation between two animals (Chernykh and Kuzminykh, 1989, Figs. 67, 3). As noted by I. V. Kovtun, the selected product groups also differ in technological features. Knives from the burial ground of Elunino I and Ust-Muta village are cast in a double-sided casting mold together with a pommel. The second group, the Seimin-Turbin group itself, is characterized by a separate casting of the knife and the sculptural image, followed by their soldering (Kovtun, 2006, p. 66). The pictorial traditions reflected in the pommels of the second group were also reflected on the dagger-

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9. Zoomorphic images on Bronze Age objects from the Ob-Irtysh region (photo by S. P. Grushin).

1-Shemonaikha; 2-Chesnokovo I; 3-Kurchum; 4-Elunino I; 5-Charysh.

This is evidenced by an accidental discovery from the Charysh River (Kiryushin, Shulga, and Grushin, 2006, Figs. 1, 2). The pommel of the handle (see Figs.8, 2; 9, 5) is designed as a three-dimensional sculpture of a horse made in a realistic manner. The massive head of the animal shows ears, eyes, nostrils, mouth and cheekbones. Similar daggers originate from Eastern Kazakhstan-Kurchum village (see Fig. 8, 1; 9, 3) and the village of Shemonaiha (see Fig. 8, 3; 9, 1). All three items are similar to weapons from the so-called Second Karakol hoard (Vinnik and Kuzmina, 1981). Despite its originality, the artistic design of the sculptures on these objects makes it possible to connect it with the Seimin-Turbin visual traditions. It should be noted that not far from the location of the dagger from the Charysh River, a gold earring with figures of two horses was found in the burial site of the Andronovo Chesnokovo I culture (Fig. 8, 10; 9, 2). At the moment, a certain problem is the cultural and chronological correlation of daggers of the Karakol type, to which we refer the product found on the Charysh River, with the Andronovo and Seimino-Turbino complexes. There is no doubt that the figurative style of sculpture on these daggers is associated with the Seimin-Turbin tradition, but the design of the blade, the details of the handle, as well as the archaeological context of the discovery of some objects allow us to correlate them with the Late Bronze complexes of the Asian steppes and date them to the second half of the II-early I millennium BC [Ibid., p. 50; Molodil, 1993, p. 14; Kovtun, 2004, p. 278-279]. The figurines of horses on the Andronovo earring from the Chesnokovo I burial site and on a similar product from Mynshunkur (Akishev, 1984, Tables VII, 16) significantly differ from the sculpture on the dagger from Charysh and, in general, from the Seimin-Turbinsky similar images in the manner of execution. They have a relatively small head and no distinctive arched mane. Probably, such features of the figurines on Andronovo earrings can be considered the result of a late transformation of the Seimino-Turbino tradition.

Features of image representation

The analysis of mobile art objects from the Bronze Age monuments of the forest-steppe Ob-Irtysh region allows us to note the following features. Among the reviewed images, profile images predominate.This is the angle that ensured the recognition of images. They are characteristic of various objects made of different materials (bone, horn, stone, metal). These are stone pestles with finials in the form of animal heads, a figure of a bird made of jasper, bronze knives with anthropomorphic and zoomorphic images, bone L-shaped finials of staffs. The second group includes full-face anthropomorphic images on a bronze pommel from the Zaisan Museum and on a bone plate from the Korablik I burial ground. The third group consists of mobile art objects where images are presented both in profile and full-face. These include stone pestles, metal knives and daggers with finials in the form of anthropomorphic and zoomorphic sculptures. The predominance of profile images regardless of the type of products reflects, in our opinion, a certain pictorial tradition common in the forest-steppe Ob-Irtysh region of the early and Middle Bronze Age. The problems of its genesis and semantics require further research.

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Conclusion

The study of mobile art objects of the early and Middle Bronze Age of the forest-steppe Ob-Irtysh region demonstrates a high artistic level of their performance. This applies primarily to the zoomorphic pommels of stone pestles and bronze daggers. Profile images made on objects of various categories predominate. The main images are animals and birds, among which the horse predominates. This image is captured in stone and metal in at least 12 cases, which makes it possible to judge the significant role that the horse played in the economic and religious life of society in this era. One of the authors of the article has already expressed the idea of forming a "horse cult" in the steppe and forest-steppe Ob-Irtysh region (Kiryushin, 1987). It is important to note that finds with images of domestic animals (horse, bull, ram) tend to steppe landscapes, while wild animals (bear, birds) tend to forest - steppe and forest zones. This demonstrates the economic orientation of the population in various natural and ecological conditions and its direct connection with religious practice. Most images of the head of a person, as well as a person with a horse (a knife from Rostovka), a group of animals (a knife from Jumba) tend to be Irtysh. Probably, it was there that this tradition was born and spread.

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The article was submitted to the Editorial Board on 20.03.08.

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