古代游牧民族艺术中的马蹄图案(起源与象征意义)

V. Kisel
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引用次数: 0

摘要

在古代游牧民族艺术的动机中,马的蹄子引起了专家们的特别注意。蹄的标志以腿的一部分(有时是一对后腿)的示意图图像或蹄足迹的抽象图案的形式再现。可以区分出几个地域文化和风格区域。第一个地区位于萨亚诺-阿尔泰地区和邻近领土。这里马蹄的形象元素主要出现在勺子上,较少出现在脸颊上,而马蹄足迹的抽象元素则出现在岩画和马具扣上。第二个地区包括第聂伯河地区、库班地区、高加索和伊朗,两种描绘的元素都被放置在脸颊上。南乌拉尔被认为是欧洲和亚洲影响碰撞的缓冲区。这里的具象元素主要装饰在脸颊上,而抽象元素则装饰在扣上。哈卡斯-米努辛斯克山谷和哈萨克斯坦是特殊地区,有特定的物品。从青铜时代末期到民族志时代,岩画中的蹄符号都被描绘出来了。在公元前8世纪下半叶至7世纪上半叶,物品上出现了蹄的标志。最早的发现是在阿尔泰。也许亚洲地区在马蹄动机的发展中发挥了最重要的作用。马蹄像从游牧艺术中消失发生在公元前3世纪。在公元前7世纪下半叶,这种动机随着古代游牧文化的载体渗透到中东。马蹄的动机转化为动物形象的额外细节——嘴巴或耳朵。在古代游牧民族中,马蹄与某些观念有关。在岩画中,马蹄的形象被用作象形文字、民族或社会的象征。物体上描绘的动机也可以作为某一群体的象征。据推测,这些是希罗多德的“历史”所知的皇家斯基泰人——一个在古代斯基泰文化形成中发挥重要作用的游牧民族协会。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Horse's hoof motif in the art of ancient nomads (genesis and symbolism)
Among the motives of the ancient nomads’s art, the horse’s hoof attracts special attention of specialists. The sign of hoof is reproduced in the form of a schematic image of a part of a leg (sometimes a pair of hind legs) or an abstract pattern of the hoof’s footprint. Several regional cultural and stylistic areas can be distinguished. The first area is located in the Sayano-Altai region and adjacent territories. The figurative element of the hoof here is presented mainly on ladles and less often on cheek-pieces, and the abstract element of the hoof’s footprint placed on petroglyphs and harness buckles. The second area includes the Dnieper region, the Kuban region, the Caucasus and Iran, where both depicted elements are placed on the cheek-pieces. The South Ural is considered as a buffer zone where European and Asian influences collided. The figurative element here adorns mainly the cheek-pieces, while the abstract element decorates the buckles. The Khakass-Minusinsk Hollow and Kazakhstan are special areas with specific sets of items. The hoof signs in petroglyphs were depicted from the end of the Bronze Age up to the ethnographic time. The hoof signs on items appeared in the second half of the 8th – first half of the 7th century BC. The earliest finds were found in Altai. Probably the Asian territories played the most important role in the development of the hoof’s motive. The disappearance of the horse hoof images from nomadic art occurred in the 3rd century BC. In the second half of the 7th century BC the motive penetrated the Middle East with the carriers of the ancient nomadic culture. The motive of the horse’s hoof transformed into an additional detail of the animal’s figure — a mouth or an ear. The horse hoof was associated with certain ideas among the ancient nomads. The image of a horse’s hoof in petroglyphs served as a pictogram, ethnic or social emblem. The motive depicted on the objects could also serve as a symbol of a certain group of people. Presumably, these were the royal Scythians, known by the «History» of Herodotus, — an association of nomads those played a significant part in the formation of the archaic Scythian culture.
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