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
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
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
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 Â²-Cucuteni And, -5400-4400 ÂÑ) prettily perceptible there
is influence of sacral cultures images, which were participial to
genesis of investigated cultural complexes. A Later (begining from
Â²-²² 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 ÂÑ) being the magic
ceremonies without use of the plastic arts. Already on Â²² 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
First of all this is a settlements incineration ritual.
We tail to ÕÕ 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, ñ.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 Ò.Ì.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 Ò.Ì. 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 (Òêà÷óê, Ìåëüíèê,
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 (Òêà÷óê, Ìåëüíèê, 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
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 -ñåðåä 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 (Äåðãà÷åâ, 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
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
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
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 òðèïîäè.
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 ñÿ 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, ñ.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 zoomorphous³ and anthropomorphous offences.
Ò.Ì.Òêà÷óê installs blocking conformities to natural laws of simple signs,
one of which there is combination of symbols, and accordingly and
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 sacral³ ideas and Trypillya
offences have the sources in most old european neolith, represented by
Greec territory cultures, Karamovo ²-²²², K?r?sh, elder linearly-ñòð³÷êîâî¿
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 À-Â² 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 Â²-Â²² stage, and specially B²².
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 Â²-Â²²-Ñ²² 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
Trypillya population into which prevailed a tradition of painted
pottery creates a lustily developed sacral magic language
denotation system. In ñàêðàëüíèõ offences and ceremonies, founded on traditions
of joint sacral space of the Early Eneolithic, traces
a steady tradition without any borrowing to the åíåîë³òó last and bronze
At that, as shown above, some sacral elements together with Trypillya
culture outlived the cultures, from which they were adopted by Trypillya.
By ÑII 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
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
Ò.Òêà÷óêà 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.