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2022, The ХХVIII International Scientific and Practical Conference «Science and practice, actual problems, innovations», July 19 – 22, 2022, Milan, Italy. 347 p.
The Umay cult as the image of the Grand-Mother Goddess includes a number of iconographic meanings. Analyzing the features of images in the culture of Azerbaijan, one can single out the archetype - Umay-Goddess, bird-sun and suggest that ideas about the connection of a female deity with a bird existed in the early Paleolithic era. The symbolism of the Gobustan petroglyphs (Boyukdash's upper terrace, stone 78, etc.) and anthropomorphic tattooed figurines with a triangular bottom end (in the form of a tail) reflects the idea of assimilating a sacred bird
ARCHETYPES IN THE ANCIENT TURKIC PAGAN BELIEFS
ARCHETYPES IN THE ANCIENT TURKIC PAGAN BELIEFSIn this article, the author attempted to analyze the archetypes in the ancient Turkic pagan beliefs. Reveal the problems of shamanism. The shamans played an important role in the life of archaic societies, they performed certain rituals, asking for the good wishes of the gods; made sacrifices for this purpose, predicted the future, trying to link it to the person’s present and past, treated people, because they knew herbs and minerals that they used as medicines, as well as hypnosis techniques. The article also reveals the emergence of the ethnonym "Turk". The deification of the surrounding nature by the ancient Turks, which is the oldest archetype, not left without attention either. A pronounced example of the veneration of flora and fauna we can trace in the ancient Turkic manuscript Yryk Bitig. The main, supreme deity they had was "Sky" - Tengri (the word designating both "sky" and "god"). The deity of Tengri, not having an anthropomorphic appearance, thought of as being located above. The Turks from more ancient times inherited the cult of Heaven. The ancient Jyrki also worshiped the goddess Umai, who personified the feminine birth principle, but endowed with a punitive function. It considered the patron of women in labor, children and the keeper of the hearth. Among the Turks, the cult of ancestors spread, because following the "laws of ancestors" was considered the main virtue of the ancient Turks. The Turks believed in the afterlife, which they imagined were similar to the earth. During archeological excavations, numerous finds testify to the popularity of ornamental art among the ancient Turks. Metal, bone, wooden, leather and felt products decorated with ornaments. The ancient Turkic stone sculpture, the so-called "stone women", well known, although these sculptures often depict men - to either their full height, or only their heads and faces. The sculptures show details of clothing, hats, hairstyles, belts, decorated with plaques, weapons. Ancient Turkic art is represented by rock drawings and petroglyphs. They depict mainly mountain goats, and in a certain stylistic manner. Most often they shown jumping, i.e. in motion, their figures depicted in profile and, mainly, by lines, their bodies and separate parts are devoid of bulk. Byzantine historians tell us that in the daily life of the Turks fire occupied an important place, they also worshiped air, water and earth. However, the Turks deified the creator of heaven and earth: they sacrificed horses, oxen and sheep to him
Études et Travaux
Remarks on the Iconographic Motif of the Birdman in Mesopotamian Glyptic Art of the Third Millennium BCHybrid creatures appeared in the Ancient World representing different meanings. Some of them existed in many different belief systems that are geographically distant, such as the Bird-Human and Human-Bird types that appeared as: the Woman-Bird Goddess in the Neolithic period in Europe, the Ba in Ancient Egypt, the Mesopotamian Gods like Anunnaki, Harpies and Sirens in Greece and Rome, and Bird priests in China, etc. Each of them played different roles according to its culture of origin, nevertheless, the core symbolical idea behind the figure might be similar. Mostly, hybrids are considered as medial beings that play a sort of a bridging role between two different dimensions, characteristics and elements. Thus it could be said that the Bird-Human/ Human-Bird hybrids are medial beings between earthly and heavenly realms because of the birds' avian characteristics mixed with the earthly manners of human beings. This research is mainly concerned about the archaeological origins and the aesthetical development of the Bird-Human and Human-Bird types of hybrids, through an analytical comparison between representations from the prehistoric period to the early Bronze Age, located in the Ancient world around the land of Ancient Egypt between Ancient Europe in the west to the Mesopotamia in the east. Moreover, shedding the light on the similarities and differences of their core concepts and iconography. Key Words: Ba, Bird Goddess, Hybrid, Human-Headed birds, Harpy, Siren.
Peregrinations: Journal of Medieval Art and Architecture 3, 2 (2011): 178-209.
The Symbol of Deer in the Ancient and Early Medieval Cultures of Azerbaijan2011 •
This article considers the symbol of deer in the ancient art of Azerbaijan during Bronze, Iron and Early medieval eras; it researches the significance of the symbol in the culture and history of people who inhabited the territory that is now modern Azerbaijan. The symbol is depicted on rock engravings of Gobustan (about 60 kilometers south of Baku, the capital of Azerbaijan) and Gemi-Qaya (territory of Nakhichevan Autonomous Republic of Azerbaijan); it is represented in different decorations, zoomorphic vessels, décor on bronze belts and ceramic artifacts. It is discovered that for the ancient inhabitants of Azerbaijan the deer was one of the most honored animals and, in different historic stages, this symbol had different semantics. The image of the deer served as an amulet; it was connected with a woman goddess and with fertility, with totem and shamanism, with the tree of life, and also with solar and burial cults. The symbol is less frequently depicted in the artifacts of the Early medieval epoch which is explained by the gradual change of ancient religious cults to Christianity and Islam.
The article deals with the different types of relationships between gods and birds, considering different environments in Mesopotamia in which birds dwell, specifically riverbanks and marshes, remote mountains, and the city. The article also discusses the ways in which birds were understood by ancient Mesopotamian scholars to represent the divine world to humans, whether as ominous predictions or as allusions to mythological episodes.
Current Approaches and New Perspectives in Aegean Iconography
Bird-demons in the Aegean Bronze Age: Their Nature and Relationship to Egypt and the Near East, in: Current Approaches and New Perspectives in Aegean Iconography, edited by Fritz Blakolmer. Aegis 18 (2020), 205-222.2020 •
This article discusses the relationship of the bird-demon motif in Aegean Bronze Age iconography to related figures appearing in Egypt and the ancient Near East.1 In Aegean iconography, fantastic figures combine avian and anthropomorphic features, however, only a part of these reflect relatively standardised motifs. Besides the so-called bird-ladies, there are a number of other figures used in different contexts and combined with other elements. These variations change their character and their position among the other religious motifs, which remain largely uncertain. Their appearance in various artistic media and in different periods throughout the whole Aegean Bronze Age clearly testifies to their importance and to their role in a religious belief system. A detailed comparison with their Near Eastern counterparts sheds some light on their creation process and the reasons behind their creation, as well as on their meaning.
International Journal of Arts and Technology
Development and evolution of bird motifs on Iranians Crockery of the Middle Ages of Islam (5-9 centuries A.H)2020 •
Introduction Azerbaijan is a land of mystery and intrigue. While history is largely silent on its ancient past, archaeology informs us that its inhabitants were deeply spiritual, believed in life after death and in the supernatural (Geyushev, 1999). Ancient beliefs involving the worship of natural phenomena were essentially animistic, with the sun and moon playing important roles. The abundant rock art at Gobustan also provides insight into past environments, cultures, and beliefs. However, what is not generally known is that there are large anthropomorphic carvings in the countryside that have so far gone unnoticed by academia. These carvings were also not obvious to the author at first and only became apparent after many exploration trips into the countryside in search of Stone Age and Early Bronze Age sites. This paper aims to raise awareness of the anthropomorphic image phenomenon and consider its potential significance.
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J.F. Quack, Altägyptische Amulette und ihre Handhabung, ORA 31 (Tübingen 2022).
J.F. Quack, Altägyptische Amulette und ihre Handhabung, ORA 31 (Tübingen 2022).2022 •
2024 •
Índex, revista de arte contemporáneo
Tecnologías Visuales Disciplinarias: Archivos fotográficos, Pathos Moderno y Desclasificación Artística2023 •
Food Additives & Contaminants: Part A
Development of a liquid chromatography-tandem mass spectrometric method for the simultaneous determination of tropane alkaloids and glycoalkaloids in crops2011 •
International Journal of Molecular Sciences
Association between Estrogen Levels and Temporomandibular Disorders: An Updated Systematic Review2024 •
2024 •
Imam Zayd Institute
Sunni Doctrine of Shafa'a & The Salvation of Major Sinners2024 •
2023 •
Human Molecular Genetics
A genome-wide association study identifies a novel susceptibility locus for renal cell carcinoma on 12p11.232011 •
Jurnal pendidikan bahasa dan sastra Indonesia Metalingua
Pengembangan Buku Elektronik Membaca Kritis dan Kreatif Berbasis Project Based Learning untuk Mahasiswa Program Studi Pendidikan Bahasa dan Sastra Indonesia2023 •