波迪利亚刺绣的几何装饰中以菱形为中心的四人或八人结构

Yevhen Prychepii
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引用次数: 0

摘要

研究的对象是几何饰品的结构,其中心有一个菱形,外围有八个或四个符号。(图7、8、14)。本文指出,这些结构象征着古代人民的宇宙:结构中心的菱形表示地牢,外围的四个(八个)符号表示某种生活领域。四周有四个符号的结构,在装饰品中比较常见,表示四位女神。这些女神的构成原则被考虑。他们的形象由两个菱形组成——一个共同的菱形,表示地牢(或女神的外阴),和一个单独的菱形头像。菱形和菱形由符号连接,这些符号通常被称为“公羊角”和“心”。作者认为它们是女神的“手”,并认为它们是用来形成女神的“姿势”。人们已经确定了三种不同姿态的观赏性女神:“双手叉腰”姿态的女神,“猩猩”姿态的女神,以及手呈“心”形的女神。考虑到这些姿势中固有的装饰品样本。心形女神被认定为外阴女神,双手叉腰女神被认定为头女神,而猩猩女神被认定为大女神。本文认为,对传统女神雕像的“姿势”(手形)的研究可以为理解装饰物的语义开辟一个新的视角。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Four- and eight-membered structures with a rhombus in the center in the geometric ornaments of Podillya embroidery
The subject of research is the structure of geometric ornaments, in the center of which there is a rhombus, and on the periphery there are eight or four symbols. (figure 7, 8, 14). It is stated in this article that these structures symbolise the Cosmos of the ancient people: rhombus in the centre of structure denotes the dungeon and four (eight) symbols on the periphery denote a certain sphere of life. Structures with four symbols on the periphery, which are more common in ornaments, denote the four goddesses. The principles of constitution of these goddesses are considered. Their images are formed from two rhombuses-a common rhombus, which denotes the dungeon (or vulva of the goddess), and a separate rhombus-head. The rhombus and rhombuses are connected by symbols, which are popularly called "ram horns" and "hearts". The author identifies them as the "hands" of the goddess and believes that they are used to form the "poses" of the goddesses. Three ornamental types of goddesses with different poses have been identified: the goddess in the "hands on hips" pose, the goddess in the "oranta" pose, and the goddess with hands in the shape of a "heart". The samples of ornaments, which are inherent in these poses, are considered. The heart-shaped goddess is identified as the vulva goddess, the hands-on-hips goddess as the head goddess, and the oranta goddess as the Great Goddess. It is argued that the study of the "poses" (hand shapes) of conventional figurines of goddesses can open up a new perspective in understanding the semantics of ornaments.
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