Geometric forms in the art of the ancient population of the Kola Peninsula

V. Shumkin, V. Likhachev
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Abstract

Geometric images on rocky surfaces (petroglyphs and paintings), which abound in the sites of Northern Fennoscandia (more than 300 separate locations), as well as similar symbols on ceramics, bone products, horns, stone handicrafts, do not often attract the attention of researchers. Like figurative images, they, undoubtedly, have been included in the arsenal of creative activities of our distant ancestors since ancient times and reflect their worldview, captured by visual means. Pisanitsy (pictograms) of the Rybachy Peninsula is the only site of its kind in the vast territory of the Russian North. The petroglyphs of Kanozera, along with similar objects from Alta, Vingen (Norway), Nämforsen (Sweden), Vyg, Onego (Karelia) are among the largest (each with more than 1000 images) rock art galleries of the hunter-gatherer tradition of Fennoscandia and remains the only site of this kind in the Russian Arctic. Modern studies of petroglyphs by means of night photofixation technique based on special powerful lighting directed at an particular angle to the surface with engravings, as well other non destructive technical methods, including the use of a technique based on the creation of 3D models using photogrammetry and obtaining “pseudo-rubbings” allow reveling new images and refine the outline already known. Sharing similar geometric patterns with petroglyphs, the ground labyrinths of the Kola Peninsula are made in different from petroglyphs techniques and materials. The labyrinths constructed of small boulders in the bays of the Barents Sea they are frequently used by various “pseudo-analysts” to build their esoteric speculations. Working in the direction of scientific study of these phenomena, trying to demonstrate and analyze the objects of historical and cultural heritage themselves, the authors follow the postulate that true human behavior and its conscious activity, in general, begins with the use of symbols, thanks to which the final separation of man from the animal environment took place.
科拉半岛古代人口艺术中的几何形式
在芬诺斯坎迪亚北部(超过300个不同的地点),岩石表面的几何图像(岩画和绘画)以及陶瓷、骨制品、角、石制手工艺品上的类似符号通常不会引起研究人员的注意。就像具象的图像一样,毫无疑问,它们自古以来就被包括在我们遥远祖先的创造性活动的武器库中,并通过视觉手段反映了他们的世界观。Rybachy半岛的象形文字是俄罗斯北部广阔领土上唯一的象形文字遗址。卡诺泽拉的岩画,以及来自阿尔塔、Vingen(挪威)、Nämforsen(瑞典)、Vyg、Onego(卡累利阿)的类似物品,是芬诺斯坎迪亚狩猎采集者传统的最大的岩石艺术画廊之一(每个画廊都有1000多幅图像),也是俄罗斯北极地区唯一的此类遗址。现代岩画研究通过夜间光固定技术,基于特殊的强大的照明直接在一个特定的角度与雕刻的表面,以及其他非破坏性的技术方法,包括使用基于使用摄影测量和获得“伪拓片”创建3D模型的技术,允许揭示新的图像和完善已经知道的轮廓。科拉半岛的地面迷宫与岩画有着相似的几何图案,它们的制作工艺和材料与岩画不同。在巴伦支海的海湾里,这些由小石块构成的迷宫经常被各种各样的“伪分析家”用来建立他们深奥的推测。在对这些现象进行科学研究的方向上,试图证明和分析历史和文化遗产本身的对象,作者遵循这样的假设:一般来说,真正的人类行为及其有意识的活动始于符号的使用,正是由于符号的使用,人类才最终与动物环境分离。
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