Актуальные проблемы теории и истории искусства: сб. науч. статей. Вып. 9 / Под ред. А. В. Захаровой, С. В. Мальцевой, Е. Ю. Станюкович-Денисовой. – МГУ имени М. В. Ломоносова / СПб.: НП-Принт, 2019. С. 189–196. , 2019
The problem of separating art objects from the total mass of material objects has always been rel... more The problem of separating art objects from the total mass of material objects has always been relevant in the analysis of material culture. This problem is relevant both in dealing with archaeological finds and with other ancient objects. Here we can distinguish two aspects: separating art objectsfrom the general mass of objects, and defining “the measure of artistry” of other things. This definition is possible when distinguishing variousfeatures of an object that may or may not have artistic properties. Depending on the proportion of these
signs, it can be defined as more or less artistic. Naturally, the “weight” of the signs also matters for placing the subject in the artistic field, or the degree of its “artistry” greatly increases. It should be taken into consideration that in different epochs and in different cultures the same attributes may or may not reveal “artistry”.
Regardless of the situation, there is one clear feature that allows one or another attribute to be interpreted as “artistic”. This is when a given property of the object, presented to us as attribute, can be interpreted as non-standard, unusual, as compared to other available objects. For example, the ceremonial “art” ceramics, as a rule, has an unusual coating or pattern, which is unusual in itself. Thus, in the first approximation, the more unusual the object is, the more artistic it
would be. Works of art, roughly speaking, are the most unusual objects in culture, which usually makes them easy to distinguish even in a fragmentary state.
Not only any attribute property of the object, but also the place where it is located, or the non-standard design for this type of objects can be unusual. Unfortunately, these details can be often lost in the process of moving or archeologizing an object. It seems possible to use this method to define artistic objects not only in ancient cultures, but also in the modern times. Despite the fact that art has lost many of the features that were considered characteristic of it in previous eras, it’s its ability to be unusual, compared with with the mass or environment, remains
unchanged. In fact, contemporary art, even in its most extreme manifestations, is something unusual, and in cases where its singularity is lost, it can not be determined and identified. Thus, the highlighted attribute and method of art definition remains unchanged for objects of material culture of all times and as we suppose might be used for other genres of art.
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Roman times, when it was a town, starting with agriculture. The cultivation of grapes is recorded only for the Hellenistic period. In Myrmekion, many wineries have been identified, but their size suggests that they served primarily domestic use. During excavations, seeds of wheat, barley and other cereals were found, so too were agricultural tools – ards and grape-knives. Fishing is recorded by the large number of fish bones (primarily of sturgeon and carp), particularly great in the Late Archaic layers. Animal husbandry flourished, especially small cattle, but also large. Hunting is indicated by the presence of the bones of wild animals and birds. Traces of various industries are found. For the Archaic and Classical periods, various casting forms related to jewellery have been discovered. For the Classical period a bone-carving workshop using the bones of red deer was found. During the Hellenistic period, ‘Megarian’ bowls were made here. Standard finds are clay and lead weights. A lead letter is devoted to trade in clothing. Indirect evidence of wealth is the big hoard of Kizik electrum coins, a large monetary accumulation.
Fragments of a scabbard from a Greek sword and a Scythian sword – an acinaces – were found. The burial of a canine skull, pierced by an arrow tip, with a probable ritual context was revealed. At another section of the excavations, near the settlement acropolis, a lapidary inscription with a list of names and a small gold plaque, probably coming from the burial of a Bosporan king in the territory of the ancient site but robbed in the Middle Ages, was found in the last season. The work of the Expedition continues
lived in small dugouts. In the middle of the 6th century BC, a defensive wall surrounded the settlement’s small acropolis. At the turn of the 5th century, probably with the help of Panticapaeum, above-ground buildings were set up and, at the same time, the settlement got regular orthogonal planning. The absence of public buildings and temples can be explained by the fact that residents of Myrmekion were citizens of the Panticapaeum polis, located a mere 3 km away by sea. In the second quarter of the 5th century BC the settlement was destroyed by nomadic invaders but it was soon rebuilt. Myrmekion illustrates how the Panticapaean state developed via small strongholds located at the key spots, which, as time passed, developed into small towns subordinate to Panticapaeum.
the necropolis of Pantikapaion in the late 19th century.
Researchers surmised at once that these models were
representations of the nomadic wagons which are
mentioned in the ancient written sources. Since those
times, on the basis of analysis of the models, several
reconstructions have been proposed and these are
constantly used to illustrate the wagons of the nomads.
Presently, in the collection of the Hermitage there are
six models of this kind and three other ones are also
known. The two of the examples are provided with
figures of harnessed oxen and one cart is drawn by a
ram. From archaeological excavations, two models are
provenient, moreover both were uncovered in burials
datable to the second half of the 1st century AD. The
known carts may be subdivided into two types: ‘carts’
with a rectangular hole in the upper part and carts with
the body completely or partly covered. In the strata of
the Classic sites of Bosporos, finds of wheels are extremely
rare while no fragments of carts have been
found at all. Hence, the models were manufactured by
the piece in the ancient workshops of Pantikapaion
during a narrow period within the limits of the second
half of the 1st — beginning of the 2nd century BC. It is
little probable that they served as toys but rather they
were specially intended for use in burials. This is suggested,
in particular, by a figured jar (?) on wheels with
a grotesque head and reliefs on the body found in Bosporos
and which, evidently, served for the same purposes.
Almost all the types of the carts have analogues
among representations on artistic objects of the Roman
Empire. The appearance of the models in the Greek
graves of Bosporos, considering the Sarmatian tamgas
drawn on the figure of the ox attached to one of the
carts, can be related with the process of inclusion of the
nomadic families in the composition of the urban populations
that led for a short time to
Coastal Region have a special place. In particular he noted the spread of the sword of the mahira (kopis) type in
the North Black Sea Region.
Two symmetrical bone plates labelled with the cut oblique crosses were found in Myrmekion in 2015. There
was а semicircular ledge on the upper part of the plate’s base. It is offset from the middle of the long side. Such
ledges are common for the plates decorating the scabbard mouths of the Greek swords. These ledges are known on
the scabbard mouths of the swords from Athens and Vergina. They are also found at the red-figure vase painting.
The offset of the ledge indicates that the sword handle is offset as well. This is especially typical for the single-edged
sword — the makhaira. Fragments of the iron blades of such swords were made in Myrmekion and in Vyshestebliyevskaya-11. The way of the processing of the bone plates from Myrmekion evidences that they were made at the
Bosporus. The plates were found in the layers of a street of the first third of the 5th century BC. They were probably
lost during the destruction of Myrmekion during the nomad attack.
Another plate which also was the facing of the makhaira scabbard was found in the same year at the Berezan
island during the excavations. It differs from the Myrmekion finding. Its processing quality is higher and it has the
square ledge from the side of the blade. This ledge was designed to be a steady support of the single-edged sword.
This scabbard was probably made in the metropolis and transported to the North Black Sea Coastal Region. The
layer where the fragment was found is dated to the period from 540 BC to the last quarter of the 6th century BC.
These rare finds give additional information about the construction of the makhaira scabbard in the Late Archaic period. They also point to the fact that this weapon type was widespread in the North Black Sea Region in
the Late Archaic period. This observation is important for the interpretation of male burials with weapons at the
Bosporus region in the second half of the 6th century BC — the 5th century BC. Only barbarian types of swords
were found in these burials. Many of them lay on the right side of the body and they often lay across the legs like
in barbarian burial sites. Therefore it is suggested that the Greek settlers adopted the barbarian system of the offensive weapons. Meanwhile fragments of weapons of the Greek types prevail in the Greek settlements. The considered plates are of the Greek type. We think that people did not carry the makhaira — the single-edged sword —
on the right side. Based on the displayed finds we can say that many Greek settlers continued to use the Greek
types of offensive weapons. In this case the burials with weapons should be regarded as predominantly barbaric.
signs, it can be defined as more or less artistic. Naturally, the “weight” of the signs also matters for placing the subject in the artistic field, or the degree of its “artistry” greatly increases. It should be taken into consideration that in different epochs and in different cultures the same attributes may or may not reveal “artistry”.
Regardless of the situation, there is one clear feature that allows one or another attribute to be interpreted as “artistic”. This is when a given property of the object, presented to us as attribute, can be interpreted as non-standard, unusual, as compared to other available objects. For example, the ceremonial “art” ceramics, as a rule, has an unusual coating or pattern, which is unusual in itself. Thus, in the first approximation, the more unusual the object is, the more artistic it
would be. Works of art, roughly speaking, are the most unusual objects in culture, which usually makes them easy to distinguish even in a fragmentary state.
Not only any attribute property of the object, but also the place where it is located, or the non-standard design for this type of objects can be unusual. Unfortunately, these details can be often lost in the process of moving or archeologizing an object. It seems possible to use this method to define artistic objects not only in ancient cultures, but also in the modern times. Despite the fact that art has lost many of the features that were considered characteristic of it in previous eras, it’s its ability to be unusual, compared with with the mass or environment, remains
unchanged. In fact, contemporary art, even in its most extreme manifestations, is something unusual, and in cases where its singularity is lost, it can not be determined and identified. Thus, the highlighted attribute and method of art definition remains unchanged for objects of material culture of all times and as we suppose might be used for other genres of art.
В ходе работ экспедиции Государственного Эрмитажа на вилле Ариадны в Стабиях, погибшей в ходе извержения Везувия в 79 г. н. э., было найдено большое количество фрагментов фресок от стен и потолка открытых помещений. С целью их массового изучения была разработана методика классификации фрагментов в зависимости от сохранившихся на них изображений. Этому способствует стандартная организация композиций настенных росписей виллы. Для унификации определения цвета использовалась система PANТONE. В результате статистической обработки полученных результатов удается разделить фрагменты из разных помещений, перемещенные в ходе разрушения зданий и прошлых раскопок. Также поддаются уверенному восстановлению росписи потолков и утерянной части стен.
Roman times, when it was a town, starting with agriculture. The cultivation of grapes is recorded only for the Hellenistic period. In Myrmekion, many wineries have been identified, but their size suggests that they served primarily domestic use. During excavations, seeds of wheat, barley and other cereals were found, so too were agricultural tools – ards and grape-knives. Fishing is recorded by the large number of fish bones (primarily of sturgeon and carp), particularly great in the Late Archaic layers. Animal husbandry flourished, especially small cattle, but also large. Hunting is indicated by the presence of the bones of wild animals and birds. Traces of various industries are found. For the Archaic and Classical periods, various casting forms related to jewellery have been discovered. For the Classical period a bone-carving workshop using the bones of red deer was found. During the Hellenistic period, ‘Megarian’ bowls were made here. Standard finds are clay and lead weights. A lead letter is devoted to trade in clothing. Indirect evidence of wealth is the big hoard of Kizik electrum coins, a large monetary accumulation.
Fragments of a scabbard from a Greek sword and a Scythian sword – an acinaces – were found. The burial of a canine skull, pierced by an arrow tip, with a probable ritual context was revealed. At another section of the excavations, near the settlement acropolis, a lapidary inscription with a list of names and a small gold plaque, probably coming from the burial of a Bosporan king in the territory of the ancient site but robbed in the Middle Ages, was found in the last season. The work of the Expedition continues
lived in small dugouts. In the middle of the 6th century BC, a defensive wall surrounded the settlement’s small acropolis. At the turn of the 5th century, probably with the help of Panticapaeum, above-ground buildings were set up and, at the same time, the settlement got regular orthogonal planning. The absence of public buildings and temples can be explained by the fact that residents of Myrmekion were citizens of the Panticapaeum polis, located a mere 3 km away by sea. In the second quarter of the 5th century BC the settlement was destroyed by nomadic invaders but it was soon rebuilt. Myrmekion illustrates how the Panticapaean state developed via small strongholds located at the key spots, which, as time passed, developed into small towns subordinate to Panticapaeum.
the necropolis of Pantikapaion in the late 19th century.
Researchers surmised at once that these models were
representations of the nomadic wagons which are
mentioned in the ancient written sources. Since those
times, on the basis of analysis of the models, several
reconstructions have been proposed and these are
constantly used to illustrate the wagons of the nomads.
Presently, in the collection of the Hermitage there are
six models of this kind and three other ones are also
known. The two of the examples are provided with
figures of harnessed oxen and one cart is drawn by a
ram. From archaeological excavations, two models are
provenient, moreover both were uncovered in burials
datable to the second half of the 1st century AD. The
known carts may be subdivided into two types: ‘carts’
with a rectangular hole in the upper part and carts with
the body completely or partly covered. In the strata of
the Classic sites of Bosporos, finds of wheels are extremely
rare while no fragments of carts have been
found at all. Hence, the models were manufactured by
the piece in the ancient workshops of Pantikapaion
during a narrow period within the limits of the second
half of the 1st — beginning of the 2nd century BC. It is
little probable that they served as toys but rather they
were specially intended for use in burials. This is suggested,
in particular, by a figured jar (?) on wheels with
a grotesque head and reliefs on the body found in Bosporos
and which, evidently, served for the same purposes.
Almost all the types of the carts have analogues
among representations on artistic objects of the Roman
Empire. The appearance of the models in the Greek
graves of Bosporos, considering the Sarmatian tamgas
drawn on the figure of the ox attached to one of the
carts, can be related with the process of inclusion of the
nomadic families in the composition of the urban populations
that led for a short time to
Coastal Region have a special place. In particular he noted the spread of the sword of the mahira (kopis) type in
the North Black Sea Region.
Two symmetrical bone plates labelled with the cut oblique crosses were found in Myrmekion in 2015. There
was а semicircular ledge on the upper part of the plate’s base. It is offset from the middle of the long side. Such
ledges are common for the plates decorating the scabbard mouths of the Greek swords. These ledges are known on
the scabbard mouths of the swords from Athens and Vergina. They are also found at the red-figure vase painting.
The offset of the ledge indicates that the sword handle is offset as well. This is especially typical for the single-edged
sword — the makhaira. Fragments of the iron blades of such swords were made in Myrmekion and in Vyshestebliyevskaya-11. The way of the processing of the bone plates from Myrmekion evidences that they were made at the
Bosporus. The plates were found in the layers of a street of the first third of the 5th century BC. They were probably
lost during the destruction of Myrmekion during the nomad attack.
Another plate which also was the facing of the makhaira scabbard was found in the same year at the Berezan
island during the excavations. It differs from the Myrmekion finding. Its processing quality is higher and it has the
square ledge from the side of the blade. This ledge was designed to be a steady support of the single-edged sword.
This scabbard was probably made in the metropolis and transported to the North Black Sea Coastal Region. The
layer where the fragment was found is dated to the period from 540 BC to the last quarter of the 6th century BC.
These rare finds give additional information about the construction of the makhaira scabbard in the Late Archaic period. They also point to the fact that this weapon type was widespread in the North Black Sea Region in
the Late Archaic period. This observation is important for the interpretation of male burials with weapons at the
Bosporus region in the second half of the 6th century BC — the 5th century BC. Only barbarian types of swords
were found in these burials. Many of them lay on the right side of the body and they often lay across the legs like
in barbarian burial sites. Therefore it is suggested that the Greek settlers adopted the barbarian system of the offensive weapons. Meanwhile fragments of weapons of the Greek types prevail in the Greek settlements. The considered plates are of the Greek type. We think that people did not carry the makhaira — the single-edged sword —
on the right side. Based on the displayed finds we can say that many Greek settlers continued to use the Greek
types of offensive weapons. In this case the burials with weapons should be regarded as predominantly barbaric.
signs, it can be defined as more or less artistic. Naturally, the “weight” of the signs also matters for placing the subject in the artistic field, or the degree of its “artistry” greatly increases. It should be taken into consideration that in different epochs and in different cultures the same attributes may or may not reveal “artistry”.
Regardless of the situation, there is one clear feature that allows one or another attribute to be interpreted as “artistic”. This is when a given property of the object, presented to us as attribute, can be interpreted as non-standard, unusual, as compared to other available objects. For example, the ceremonial “art” ceramics, as a rule, has an unusual coating or pattern, which is unusual in itself. Thus, in the first approximation, the more unusual the object is, the more artistic it
would be. Works of art, roughly speaking, are the most unusual objects in culture, which usually makes them easy to distinguish even in a fragmentary state.
Not only any attribute property of the object, but also the place where it is located, or the non-standard design for this type of objects can be unusual. Unfortunately, these details can be often lost in the process of moving or archeologizing an object. It seems possible to use this method to define artistic objects not only in ancient cultures, but also in the modern times. Despite the fact that art has lost many of the features that were considered characteristic of it in previous eras, it’s its ability to be unusual, compared with with the mass or environment, remains
unchanged. In fact, contemporary art, even in its most extreme manifestations, is something unusual, and in cases where its singularity is lost, it can not be determined and identified. Thus, the highlighted attribute and method of art definition remains unchanged for objects of material culture of all times and as we suppose might be used for other genres of art.
В ходе работ экспедиции Государственного Эрмитажа на вилле Ариадны в Стабиях, погибшей в ходе извержения Везувия в 79 г. н. э., было найдено большое количество фрагментов фресок от стен и потолка открытых помещений. С целью их массового изучения была разработана методика классификации фрагментов в зависимости от сохранившихся на них изображений. Этому способствует стандартная организация композиций настенных росписей виллы. Для унификации определения цвета использовалась система PANТONE. В результате статистической обработки полученных результатов удается разделить фрагменты из разных помещений, перемещенные в ходе разрушения зданий и прошлых раскопок. Также поддаются уверенному восстановлению росписи потолков и утерянной части стен.
LXXXVIII
Saint Petersburg
The State Hermitage Publishers
2017
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