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THE  SACRAL WORLD AND THE MAGIC  SPACE  OF TRYPILLYA CIVILIZATION
(5400 - 2750 BC).
 
 

NATALIJA BURDO  2001


In its article I attempted to brush picture up of Prehistoric  Sacral  world and the Magic space of enigmatic Trypillya civilization. The Reconstructed pictures are not always sufficiently intelligible, by times  even   misty, but always   majestic. Seemed, for hundred years about spiritual society life study,  which omitted to us into heritage a Trypillya culture, whatever one can be written. Only names list learned, which devoted to this theme its labour brings unanywhere on which respect and horror even to touch it. Seemed, whether one can be found here something unknown, to say a new word? That is why by its main aim I put to gather and to systematize archaeological materials, to do them accessible for further scientific developments. This labour, however got for time the results outrivaled most daring  expectations.
Application of approaches complex and systematic study of all without exception artifacts and finds allowed to analyse them in such scope and combinations, which before were not enabled in identical studios.  This enabled to reproduce a most possible model, to come in sort around understanding  of Trypillya" sacral sphere.
On reconstructive stage by major task on elementary stage stood determination of methodical labour foundations.  Being historiography from study problems of spiritual Trypillya  sphere is by bright  reflection ruling in USSR spreaded scientific theories, in base of which lied  brightly expressed economic determinism  and primitive evolutionism, religion role underestimate,  as important factor in the social development
To approach study of asking put into labour after Trypillya magic, first of all was seen out a reverberation search of magic organic(regulations) law, laid out in suitable special books,  in precise and analysed by us artifacts and complexes.
Prettily clearly draws unity of Trypillya  sacral  space with Mediterranean and sacral  space of Old East. In this space bowed to Big Goddess into different her hypostasis.  Her image is always associated with Moon, Bird and by Cow. This Big Goddess could adopt offences Goddesses-Birds, Goddesses-Cows, One in two Goddess. This was Moon Goddess, it with it associated offences snake and she-bears. Goddess-cow Appearance is, on our thought, by prettily  bright testimony of agrarian civilizations establishing.
By most old sacred image, which resorted to reconstruct, there is Goddess  Bird.  It extraordinarily archaic  and, that interestingly, already practically does not fix a milennium posterior to V beginning to Christ. This image was widespread in Vin?a cultures,  Krish and other, that belong to Balkan- Carpathian region.  Taking into account prettily distinct and numerous  archaeological data about intensive contacts and Trypillya  intercourses with these regions, this is by quite appropriate phenomenon.
However in process of time in Trypillya  sacral space takes place union of images of two Goddesses. In Big Goddess we see Goddess-Cow of traditions Afro-Asian and  Indo-European,  and also Prahistoric Goddess-Bird image.
To Trypillya World  artifacts resides in anthropomorphism. Broadly speaking it, possibly, reflects an image of Big Goddess, which her symbols   forward Month and Snake. Among womanish sacral images exude Woman with baby (Madonna), Goddess-Cortex, Goddess-Matron. On base of comparative analysis set, that into Trypillya we find not only artifacts with sufficiently clearly expressed anthropomorphous lines, but and such, that not quite intelligible and accessible at first blush. Consequently, by dint of comprasion of  the plastic arts, forms and pottery ornamentic resorted convincingly to lead, that the numerous handles of Trypillya  vessels are by nothing to other, as anthropomorphous symbol. A Elementary realistic in process of time conceded schematic image, maintenance of which, possibly , already was not to sufficiently intelligible peoples, which them did. This is a bright display of some existed  traditions of material culture in tearing off from their primary sense, which,  it is possible, was forgotten, or half-forgotten.
To Us resorted to express a new sacral image  is offences androgine. This is a divine perfect wight, which is by embodiment all oppositions.
Masculine image is present, but insufficiently clearly expressed. It is possible, it is by Goddess-Cortex correlate.
Long prettily the numerous Trypillya  artifacts with bucranies images interpreted, as allegorizing bull. Combination of bull images and God-Bull womenfolks   and Womenfolks-Earth, beginnings masculine and womanish,  Sky and Earth.   On our thought  these reconstructions relate to more late times, than Trypillya culture. To Us does not resort to fix images enumerated above in precise material. The Being images bucranies in being context  somewhat quicker for all symbolize  a bull,  as sacrifice. A God-Bull Image found extremely enervated reverberation into artifact.
In Trypillya  ornamental pattern find the numerous snake images.  A snake Image is by exposure of monthly deity. Combination of snake and Month is by unique image especially Trypillya,  developed namely in this culture. Separately these offences are fixed in mythology, however their combination can be thought by own Trypillya invention.
Some Trypillya magic artifacts is by straight accordance to attributes of magic practice, which is described and explored by anthropologists..  In Trypillya ornaments we find the replicas of sacral manifestations, which explored in treatise on religions history Mircha Eliade. Goes about Rising myth,  role  and significance of Month, allegorizing living she-bear wights    associated with Month,  dog, snakes, shells. Taking into account magic practice described by anthropologists,  there are all of reasons to think, that animals "processions images , famous on Trypillya  painted pottery ( in catalogue for us contained such vessel, dug out by V.Khvoika into Krutoborodintsi-II there are such images on vessels from Varvarivka -VIII,  excavated by V.Markevich ) is not something else, as by ritual processions,  which took place attached to execution of ceremony offering. Image of dog in Rising stages on Sky up the endless steps is by image of understanding old to process gist offering, arriving at immortality in sacral  sphere on the strength of revival after offering. Reminisce interments" finds animals, or skulls of them,  which reflect a material side of this ritual.
Resorted to express the definite stages and conformities to natural laws in forming of Trypillya sacral sphere. On formative stage (TrypillyaA-Precucuteni, Trypillya  ²-Cucuteni And, -5400-4400 ) prettily perceptible there is influence of sacral cultures images,  which were participial to genesis of investigated cultural complexes.  A Later (begining from ²- stage ) Trypillya sacral sphere demonstrates the parameters of sacral spheres of neighbouring civilizations, but becomes evident her all-sufficient. A Model, which was,  can consider, as original sacral complex, steady to external influences. A even population flow from Central Europe (Lengyel-Polgar circle  of cultures ) does not find considerable reverberation,  barring  small episode,  when in east Trypillya  diffusion regions for a some while (by 4200   4000 ) being the magic ceremonies without use of the plastic arts. Already on ² stage status- quo was renewed, and Trypillya magic practice again gives its bright displays.
A sacral complex imagines as whole one for all Europe, however concrete old societies created own, original, and at times   at all unique  magic rituals. A Last circumstance creates unanywhere which embarrassments attached to wide  use of comparative method attached to study of these the past phenomena.
In base of sacral  complex reconstructed by us,   on our thought, underlied revival recreation   idea,  achievement by dint of execution of some consecration rituals  of highest  aim is immortality of human soul. Sacral activity was directed foremost on speaking of being world order, in support of fight with Chaos. By Constituent of this eternal wrestling were actions, directed on revival and man immortality,  which was in this regard to make even with Gods.  This found sufficiently clear reverberation in rituals, which is fixed on sum precise by us artifacts.
A wrestling Process for immortality and revival was endless and called for permanent strained activity. In this industry Trypillya society went towards own by dint of, creating and developing the rituals original for Eneolithic Europe.
First of all this  is a settlements incineration ritual.  We tail to beginning archaeologist  Vikentij Khvoika thought,  who interpreted the oddments of Trypillya  dwellings, as houses of the dead", which were identical to interments for storage of found stock. Afire sacrificial stowed with pottery, labour implements,  by food and other  stock of dwelling burned afire sacrificial,  which kindled attached to transference of settlement elsewhere.  A ritual Purport,  on our thought, in given case was in revival of ancestors souls  for eternal life in sacral sphere. This was most grandiose, and   possibly , most majestic from Trypillya  rituals, if to take into account, for example, dimensions settlements-protocities on in V   end on IV beginning  of milennium to Christ.
For workloads invested and efforts a given ritual does not get to building megaliths in synchronous toTrypillya  the FBC (TRB) communities. However it is not so evident, as grandiose buildings from to stone. Is impressiv a chronological diapason existing of dwellings   incineration ritual over two years thousands,  that can go into weighing with age of world religions.
The offering was the basic magic ritual, the traces of which sufficiently are clearly fixed in archaeological Trypillya -Cucuteni culture materials.  Exclusive of mentioned higher "the great sacrifice" dwellings and settlements there are the traces of concrete everyday actions   for example, finds buried into earth,  sometimes together from some artifacts, bulls skulls,  dogs, other animals. We think, that to category sacrifices trace to bear away peoples interments expressed on territory of Trypillya  settlements,  in that number   of children.
Consequently, in Maydanets settlement beside one of dwellings dug out big pit, in which exclusive of other  objects, found  a little ten figurines for bovide and ovide appearances. T. Moss  directs  a row of immolation ceremonies examples,   directed on  recreation of earth fecundity,  directed to breathe into earth in divine life, to which it potentially has, but to fasten into ground of spirit, which it impregnates.
Although magic ritual actions do not contain reverberation  of myths,  but there  is a special form of verbal invocation ceremonies   of mythological disposition (Moss, 2000, .147). An effect of magic ceremonies breaks down under necessity to bring on other-worldly forces. Language to called   special language, gods language,  spirits, sorcerers. At that everywhere magic uses to language archaisms, artificial and incomprehensible  terms. Contemplate, by trace for ..Tkachuk, that in Trypillya  society a magic language found definited  reverberation in painted pottery, on which  to us reached  a magic - sacral pictography. By the way, T. Moss  marks, that magic spoke out on sanscrit language in epoch of India prakrites, on egyptians language into jews and greeks, on greek to language  into Latyns, on Latin in dark ages. As analogy can be brought over fixed by .. Tkachuk appeal of Trypillyans to signs of previous epoches, that quite logical from point of view of magic practice to make use of archaisms for its language.
                In magic  definitely are regulated the gestures. A Magician  subordinates to their rhythm, as in dancing. In tie with this supervision T.Moss interestingly to consider the gestures, which fixed into Trypillya  artifacts, which give a possibility to draw analogy and with ritual dances.
In magic ceremonies is fixed use for magic two or three dolls. Namely with such example possibly  to balance part  m dualistic Trypillya  artifacts, from double binoculars vessels,    pair images,  to two   wights on vessels.  Three object also are combined into one, this so yclept trynocles". T. Moss indicates on that to each society  magic has its, unique appearance, which characterizes by diffusion of definite ceremonies. Each magician in identical cases makes  use of one  the same recipe, always the same bewitching objects. The Magicians frequently have specialization for that ceremonies, as they practise. The unoccupational magicians know quite little ceremonies, that's why they repeat them over and over. Just so a recipe uses carelessly, without any sort maintenance, becomes quite incomprehensible. Here  evidently, that a form attempts to outbalance maintenance. Accordance in Trypillya  artifacts we see, for example in binocular  vessels, which made in Tomashivka group. They only formal walked on binocular of previous times, do not have the holes and can not use so,  as in olden times".
Images  Widespread on Trypillya  pottery of concentric circles  can be considered as magic concentration symbol of sacral  space. Will Foretell, that in Trypillya ornamets concentric circles consider by naturalists as Solar symbols.  If into sacrifice brought round animal, it in every way possible adorned, in that number and by ribbons.  The It is possible Trypillya zoomorphical statuettes, adorned by different methods, in that number and ribbons, symbolized a namely sacrificial animal. The killing Rituals were lustily various.  When instead of animal into sacrifice brought round torment and bread, them  threw into fire. Destroying of sacrifice meant execution of main act immolation. Sacrifice was devoted, changed its essence, her death was like the  phoenix death:  it regenerated in sacral  world. Sacrifice after immolation likened to dead, a soul of which for hours together abides in other world and for hours together in body of that, who only died. To get away clear that, that remained from immolation ceremony,  took the desinite ceremonies, the frequently oddments set before to fire, buried into earth. Even ashes, which stopped behind after cremation, do not throw where hitted, it hid in towns specially picked out for this,  as were under guard of religious prohibition. That's why we think, that various artifacts from by fire traces,  ashes,  and also that, that originate in pits, one can be thought by traces an immolation.
Under magic symbols, or signs, we understand not only signs, picked out T.M.Tkachuk  on Trypillya  painted pottery (, , 2000), and prettily wide circle images, to which the signs-icons enter,  signs blocks,  ornamental compositions, and also  factually be which manifestation of definited images into artifacts.  All of types of cargo magic by with magic-sacral pictography (, , 2000) compose a magic language of Trypillya  society. A Trace also to remind of T.Tkachuk opening,  which fixed in Maydanets, gigantic proto-city by area over 200 hectares, that on big dug out allotment to each  house were   inherent  its signs-blocks. The simple signs are observed in each house. This can bear witness to that the simple signs and methods of their mounting, among which any amount of semantic markers, were general, and the blocks were created in each house, or for each house and almost do not repeat in ambient bilding
Materials, which bear witness to magic ceremonies, envelop lustily  wide circle archaeological artifacts. This is into first turn  the oddments of Trypillya  dwellings, scorched in conflagration, various components cultural to pit layer   with ashes, bones,  domestic and sacral objects, and also definited special notes, vessels disintegrations are fixed outside dwellings boundary paths,  treasure troves " but interment" of animals and human on settlements and in dwellings.
On archaeological material we fix such ceremonies.
1. Incineration Ritual of Trypillya  houses, possibly associated from by interment and immolation.
2. A Ceremony, attached to which buried under houses or on settlement, animals, their  heads or parts,  possibly associated with immolation ceremony.
3. A Ceremony, which was  attended with burying (by interment) under dwellings or on settlement of human skulls, bone, sometimes burnt, the deceased with stock,  possibly is also associated with immolation.
4. Rituals, associated with use of fire, when into pit, exclusive of ashes get the various things, possibly immolation oddments.  Also one can be supposed, that in some rituals made use of anthropomorphous, zoomorphous clay figurines,  double vessels. At thet  all of these things demonstrate steady safety of sacraltradition during ages.
 Ceremonies, which took from guarding of stable rituals,   also  set forward on extent almost one and a half  to years thousand,  and a settlements burning  ceremony is typical for Trypillya culture at all, existed two milenniums. This not when speaking about that the sources of Trypillya  ceremonies are found in old mediterranean civilizations.
T. Moss  marks, that the frequently such ceremonies simplify  from multi-repeated reiterations and under time flowing.  Take for possible by namely such circumstances  to account for reduction of  phenomenon fixed attached to ceramics analysis of definited lines, which reproduced the magic symbols. Consequently, if for early and beginning middle Trypillya   typical pear-shaped anthropomorphous vessels with prettily brightly said anthropomorphous  properties, then on pottery of late stage  they little loud, that is why anthropomorphous lines on them come forward in reduced appearance. That namely takes place and with bowls on anthropomorphous supports and anthropomorphous supports, and also vessels with anthropomorphous handles. A phenomenon This is it is possible to consider as  simplification of separate ceremony elements,  in which anthropomorphous pottery used.
  Typical there is a list of magic materials and instruments, bu T.Moss directed.. Among them considerable part into Trypillya  artifacts present. The Bowls - of Trypillya  pottery  are as  bowl properly,  bowls on supports, double and triple bowls on supports, etc. The Rings are the copper rings lustily thinly, but  meet among finds. The Knives are a flint knife, for example, found  by S.Gusev,  on clay platform in Voroshylivka settlement house.   Circles are by some measure to them can answer  clay discs, the small loafs, etc., is found in Trypillya  dwellings. Spindles are into Trypillya   sppen-weels, on late stage with incised signs.  Dangled -  into Trypillya   clanged, at that some from them birds figurines , and rattle from Luka-Vrublivets'ka little oviform form. Dolls  are various anthropomorphous terracotta, which used in different rituals.  Tables are from that articles of material culture, which were kept to our days, to them can answer into  Trypillya pictograms on painted pottery.  Bone are among Trypillya  materials various wares those present from bone which it is possible to think ritual: amulets, ornamentirs, adorning from to boar fang,  pins from bird bone,  bull fingers phalanges with holes, pendants from fawn teeth,  wolf, by the way, last artifacts appear as far back as paleolith, and their  diffusion does not expire from by Trypillya  disappearance.  Arrows are in Trypillya  dwellings prettily thinly find arrows, this fact  used by V.Dergachov as one of arguments on self-interest of that into Trypillya was little to arm (, 2000), on our thought, finds of separate numbers of flint   arrowheads in Trypillya  houses in context of all complex filling by various sacral  things, bears witness to their magic sense in given case.
T. Moss   underlines, that a costume  choice for magic ceremonies is pronouncedly regulated. About participants   costume  of Trypillya   ceremonies in sort can be judged on data the plastic arts and by anthropomorphous image. Head-dress is represented on several figurines, but still fragmentary. It is possible it reproduced a still one head on figurine, for stylistically  image supposes  such interpretation. In heads of some statuettes there are the cavities or punctures. It is possible head disk-shaped with punctures on edges.  Trypillya  clay figurines reproduce some ritual costume, but image  so stylized, that there is not to purport something probably to affirm. Separate costume  lines anthropomorphous figurines: the waistcoats, aprons, belts, costume of Goddess with snakes" from Cryte reminded. Come into notice the red  ribbons, to which bordered figurines are,  painting of separate statuettes into white colour, painting red on white, for purple ribbons and white clothes remember t. Moss as ritual signs.  T. Moss  also  brings out still one variant:  the ceremony participants ought were naked. Will Foretell, that a namely  such variant answers  pressing majority Trypillya  figurines, nudity of which is specially underlined.
 Among various ceremonies types,  as picks out t. Moss  we can find accordance to two   fining and down immolation. The clearance Ceremonies frequently materialized  by passing over fire, a namely this factor  omits the material  traces and they wide-spread in artifacts Trypillya culture. On first, this is oddments of scorched  houses, on second   pits, in which find ashes, are burnt bones, separate burnt  objects, on third   finds of burnt   man bone or animals in pits or among houses ruins,  sometimes in vessels. A clearance Ceremony by fire can be by finishing part of immolation ceremony,  when take place actions de-sacralization all, that was a party to ritual. The Immolations possibly materialized  with immediate fire use.  To This ceremony T.Moss  devoted special research, to which we will appeal, that to set to accordance Trypillya  artifacts of immolation act,  to fixed in sacral texts and by ethnologists and  by T. Moss thoroughly analysed .
Most brightly an immolation  ceremony reflected into burning of settlements. Attached to archaeological exavations fixed  the details  of ritual settlements incineration.  Possibly, from each house darted out an usual domestic utensils and by definitedimage placed ritual stock, as regulation pottery, which sometimes occupied almost all workplace space.  Fixs grouping of different ceramics forms,  ritual vessels, sacral things. Into Maydanets  among ruins of some dwellings fixed the weaving makes up, which also entered to ritual to stock. Sometimes under ruins of separate houses find  the vessels with animals bone,  among which the human bone the human bone are,  separate  human bone,  their regulations while not quite cleared up. Possibly in act of ceremony a house filled in by fuel   by firewoods or reed, etc., and then each house all settlement set on fire was burnt down afire sacrificial,  disappeared, perhaps with souls of his dead lodgers, to regenerate in sacral world.
T. Moss  marks, that that in immolation is by sacrifice preparation,  in magic frequently changes on composing part of ceremony, for which a magician makes  image, in that number from clay, metal, that provides his gods images or demons, by dolls, that replaced a magic object,  objects being in symbolic right. It produces the worn on the shoulder bandages, coulombs, talismans and amulets.  To All this we find accordance among Trypillya  artifacts. For example, anthropomorphous amulets of identical form are made from bone, shells, stone, or copper .
Among Trypillya  anthropomorphous figurines, evidently, there are the different wares   grades images of gods or spirits, which is allotted by defineted features,  which are kept on ages extent;  possibly, there are the statuettes, that replaced in magic ceremonies the magic objects;  there is a big grade statuets, which used in ceremonies as immolation. By Objects, which are in symbolic right are saturated almost all of Trypillya complexes. One Can be supposed, that  a concentration of that whether other sacral articles   of agglomeration in one dwelling of a little  double vessels (binoculars), or  various sacral and votive objects by one group, is associated with various  magic rituals in immolation ceremony.
Possibly,  by amulets and talismans one can be thought the things, which had the holes and could use to coulombs, or to sew on on clothes. They can have lightly give voice to sacral offences, as, for example,  boned plate in head appearance of bow with incised image of womans figure in ritual pose from Bilcha-Zolota. And can be absolutely simplified form   as stone pendant from Bernashivka.
T. Moss  picks out as special appearance of verbal  invocation ceremonies.  Think, that into Trypillya  artifacts  to this ceremony answer  the various  images, all of they, on our look, are associated from magic conjurations, but heavily comprehend to namely what was devoted these invocation. By Into first turn certificate conjurations one can be thought a ornamentation of Trypillya  pottery. A ornamentation  Analysis leads, that subjects admission and ornamentical compositions prettily limited  and does not change, accords with steady tradition. As separate elements to circle pattern,    ovals, rhombs, crosses, spirals,  snakes, zoomorphous and anthropomorphous figures, so and figures, which form the static or dynamic ornamental endless compositions, swastika, cross, six or octagons   is by symbolic magic signs. Sometimes these signs consist into definite  systems and form the pictograms, which have the sacral magic maintenance and, on our thought are by invocation ceremony manifestation,  which is directed on evocation of other-worldly forces, are one of methods to manage these forces.
Part of anthropomorphous vessels, to which we bear and away double vessels (binoculars),  in appearance of human figures also allows to set a ritual pose and gestures. At that is observed   definite poses accordance and gestures between all of images types.  Most widespread upright straight figures, which meet in anthropomorphous the plastic arts, among anthropomorphous vessels and painting. Sometimes they have an object on head, holding it one (painted figures) or by two hands (bent in elbows painted figures and anthropomorphous  supports.
Meet the images of elevated  hands   -"Oranta"-  gesture both among statuettes and in anthropomorphous pottery. The Hands can be laid on breasts or formed on stomach ( to this gesture on S.M.Bibikov  thought answer the figures images in which hands not modeled), such figures meet  as drawn, so and  widespread in the plastic arts. Documented images in painting and among figurines, when one hand is elevated to head (face), and friend bent in elbow disposed on waist or beneath to belt.  A Special images grade in definited poses compose the group compositions from two or three figures. In Trypillya the plastic arts they in clean appearance are not fixed, but meet in painted variant and among anthropomorphous vessels. Sometimes painted figures   of different size, one above other.
Anthropomorphous  vessels, which reflect figure equal with combined hands   this is the double vessels (binoculars) where anthropomorphous figures unite besides oneself by bridges, and also identical form . Still one type of anthropomorphous pottery, that reflects a support figures   group or bowls pallets,  which form circle from 4   7 figures, which hold  bowl, which sometimes is colander .Fixed cases, for example into Bere?ti, when the figures consolidate into circle taking for hands by elevated hands bent in elbows.  The Roumanian archaeologists think, that such wares reflect ritual dance and name by their Dragomir organ-lofts" (, 1987, p.287-299). E.A.Korolyova  marks, that ritual dance symbolic reproduces  the magic signs   circle, parallel bee-lines, labyrinth (meander), wavy line   snake (Queen, 1977, .125-141). All of these figures are among Trypillya ornamental magic symbolism. She thinks, that the poses and  gestures which reproduce in that number and Trypillya images,  are by elements of ritual dances.
 Among Trypillya  figurines meet  the images  of seating figures  womanish, masculine and androgynes. The Hands of womanish figures can be not modeled, formed on stomach, outspread forward, or hold  child by left breast. Seating men figures and androgynes (lustily thinly such images are presented by whole informative samples) with outspread hands, or hands not modeled.
 T. Moss  set, that  magic supposes an images combination,  without what impossibly to imagine a magic ceremony, which is by images conglomerate:   magician, ceremony, aim. an images (or signs) combination Idea is brightly reflected in Trypillya  materials, which adapted in magic ceremonies. In terracotta images  will team womenfolks offences and cow (bowide), womenfolks and serpents, it is possible womenfolks and birds. In anthropomorphous pottery are combined man offences and bovide, man (womenfolks) and serpents. On Trypillya  vessels  team up with cosmic, by moon  symbols zoomorphous and anthropomorphous offences. .. installs blocking conformities to natural laws of simple signs, one of which there is combination  of symbols, and accordingly and images.
 Proceeding from magic laws, by T.Moss  explored, one can be interpreted  the Trypillya symbolic images. By Magic regulation part equal to whole" account for anthropomorphous symbols of Trypillya  pottery, and also combined symbols. Consequently, in ordered to hand down anthropomorphous image, not obligatorily will model a vessel in man figure form,  sufficiently will place on it  anthropomorphous symbol small conic handle, formed conic model with horizontal whether vertical puncture. That such handles are by anthropomorphous symbols, bear out identical stick on stomaches and knees womanish figurines. For  recreation of Oranta image sufficiently will border a vessel by two stylized handles-appearances. Protuberant appearances pass on womanish image. Anthropomorphous offences can be voice to hands, by relief stylized figures, which already almost and do not remind of form human body, or simply by appearances on crowns edge.   Zoomorphous offences  reproduce on vessels by four legs, heads, sometimes  bukranies, or by simply small appearances in that tracks, where is must be  a tail and head.
 To Accordingly magic sameness law,   an image turns into symbol, at that for formation to symbol used only one of many  typical for to article of properties. That's why interpretation of ornamental pattern in festoons appearance as clouds, thin lines as rain, lens-like ovals as corn, ornament as reflections of Big goddess, sky Mistresses and the liked can not perceive even as a hypothesis.
 A Magic antithesis  law supposes operating by oppositions. Possibly, by manifestation of this law can be thought a negatively-positive ornamental system,  which frequently incident to Trypillya  patterns.
 Such as whole draws a concrete  picture of Trypillya magic", reflected in found artifacts.
Not looking at distinctions in material culture, well loud on archaeological material, sacral Trypillya  (Trypillya    Cucuteni) culture space was one from Carpathian Mountains  to Dnipro. Beginnings of complicated of social structures, chiefdoms and proto-cities at the some  chronological stage does not prang this unity. As and to that prevail snake images and month,, personifications of womanish Cortex goddesses,    Big Cow Goddess.    Only in Late-Trypillya  cultural groups (some naturalists accept their as separate cultures) fixed new for Trypillya  offences. Goes about womenfolks image,  which seats tilted forward, which the famous Usatovo - type statuettes reproduce of type. This image, as it seems to us,  has originating in Vin?a culture and associated with funerary ritual, not inherent for Trypillya .
A prototypes circle Analysis and analogies magic artifacts, symbols, rituals, which accord with Trypillya culture, allowed to do the interesting supervisions. To begin with, the basic sacral ideas and Trypillya  offences have the sources in most old european neolith, represented by Greec territory cultures,  Karamovo -,  K?r?sh, elder linearly- ceramics. Vin?a Cultures,  Karanovo V and VI, Gumelnitsa,  Lengyel and Trypillya  have any amount of joint lines in sacral  sphere, possibly their  magic and ritual practice and sacral  offences behaved to one sacral tradition. Forming Trypillya sacral traditions  took place on Trypillya  -² stages,  namely for this while falls down most part  of analogies for Trypillya  artifacts. A New stage in History of  Trypillya culture is associated with transition to Trypillya  ²-² stage,  and specially B.
Begining from this period Trypillya society comes forward as a system from original sacral complex, magic practice without  no longer suffers  influences  and innovations. Intensity in a intercultural contacts Trypillya on ²-²-Ѳ stages,  fixed for other culture aspects,  does not touch a sphere of sacral   images and ceremonies. Foreighn population which got in some Trypillya  local groups, at first not entirely all the sacral Trypillya traditions perceived.
This nicely visibly on example housing Ticks and Bug-Dnister type of Eastern Trypillya of culture. Into Klischiv  S.Ryzhow  set many components population storage from four Trypillya  local groups, also by fifth component of population with Lengyel traditions was. Interestingly, that S.Ryzhow set, that a ceramics with definited peculiarities distributed into Klischiv between  separate by dwellings groups,  that indicates on some autonomy population groups  with different sacral  traditions.
Into Klischiv in ceremonies almost does not use a traditional Trypillya terracotta, at that some dwellings are saturated by double anthropomorphous vessels (by binoculars). A ceremonies Tradition without figurines, possibly by Klischiv lodgers  group,  which made in way of life use of pottery without decoration, to inherent Lengyel culture and from by deep-laid pattern, the sources of which were into early Trypillya, hands  population  down of country between Sout Bug and Dnipro, where also almost there is not anthropomorphous the plastic arts, but any amount of binoculars, that marks O.Tsvek  for Shkarivka  dwellings.
A Territorial group of Trypillya culture in Dnipro restored tradition of figurines application in ceremonies, makes use of double anthropomorphous vessels, holds on traditions of Trypillya A (!) into made sacral  pottery, in ritual and domestic pottery clearly the done over again Lengyel  lines trace.
 Trypillya population into which prevailed a tradition of painted pottery creates a lustily developed  sacral magic language   denotation system. In offences and ceremonies, founded on traditions of joint sacral  space of the  Early Eneolithic, traces  a steady tradition without any borrowing to the last and bronze day beginning.
At that, as shown above, some  sacral elements together with Trypillya culture outlived the cultures, from which they were adopted by Trypillya.  By II stage beginning we have large cultural differentiation of Trypillya community, which does not reflect in sacral sphere, it remained one for majority of the Late-Trypillya  groups, except Usatove   and Sofiyivka.
Into this period practically all of continental cultures lose considerable part of achievements of previous times in  external legalization of sacralsphere become poor or disappeared  the plastic arts, degrades a decor of ceramic wares. However pawned into Neolithic and Eneolithic  periods on different magic base continent  cultures composed a base of joint European tradition in this sphere
In final part I stopped for Magics and Trypillya -Cucuteni culture population Religions.  Namely in such combination these notions existed into distant times. Magic in Trypillya people hands  was used for sacral Forces management.  With them old associated and attempted by them to govern, taking  the definited rituals with use of file magic artifacts. Last famous to us  due to archaeological excavations.
In many aspects the results of our research  bear out basic to . deduction about existence in Trypillya culture of sacral-magic pictography, by bright expression of which is is painted a pottery. Establishment of his context with other categories artifacts to let into future more brim-full to reconstruct sacral Trypillya  sphere and different aspects of ritually-magic practice.
Our labour on once was limited by Ukraine territory,  in that time, as archaeological Trypillya    Cucuteni complexes,  extraordinarily interesting important artifacts saturated widely explored in Moldova and Romania. Our labour in Kishiniv museums inspired on idea of international project on study of spiritual world of this old civilization. A Comparative analysis Trypillya  artifacts bears witness also to their wide european context, further inquiring into which also is prettily interesting. In result execution of its project I came to realization of that essential displacement in study of spiritual world of old Europe civilizations necessary international archaeologists efforts and other naturalists   such work hardly whether on force to separate specialists.