Olbia Pontica

Борисюк-Дудкіна А.С., Шевченко Т.М. // Археологія та давня історія України. Вип.1 (18). К., 2016 – С. 145—149
Published is a Classical period protome kept in the Scientific Funds of the IA NASU from the excavations at Olbia in 1956 headed by L.M. Slavin. Presented are the description of and a basis for the restoration and conservation process conducted according to the modern requirements. After the cleaning and restoration, it became possible to discern the details not noticed before, which allowed to consider the attribution and dating of the protome anew. It appeared that the goddess is represented with a naked breast and a headdress and earrings are decorated with rosettes. Consequently, its relation with an Aphrodite image appears to be more convincing than with Kore-Persephone, as it was considered before. As for the dating, it should be reviewed not only because of the context of the finding, but also because of the peculiarities of fingers and hair depiction. Efficiently made fingers of this protome differ from the hands presented profiled during the 5th century BC. The hair depiction is common for Attic depiction of the first half of the 4th century BC, although it does not mean that the terracotta was produced in Attica, the clay composition evidence for its Chersonesan origin. The context of a find allows narrowing the dating to the first quarter of the 4th century BC. Protome is one of a few archaeologically intact Olbian terracottas and reminds of a chthonic aspect of Aphrodite cult.

Очередной выпуск «Херсонесского сборника» посвящён памяти Мирона Ильича Золотарёва, многие годы работавшего в музее-заповеднике «Херсонес Таврический», жизнь и творчество которого было тесно связано с Херсонесом. Исследования и публикации друзей и коллег посвящены актуальным проблемам античной и византийской археологии, которыми занимался и интересовался М.И. Золотарев. Издание адресуется историкам, археологам, краеведам и всем, кто интересуется древней и средневековой историей.

Основу двадцатого выпуска «Херсонесского сборника» составляют статьи, которые касаются находок, открытий и древностей, связанных с Крымом и, в первую очередь, с территорией древнего города Херсонеса Таврического и его округи. Ряд статей посвящены херсонесской нумизматике, эпиграфике и истории Херсонесского музея. Этим, однако, тематика сборника не ограничивается: здесь также публикуются материалы и исследования по ряду актуальных проблем античной и византийской социально-политической и культурной истории более широкого географического охвата. Издание адресуется историкам, археологам, краеведам, студентам и преподавателям, а также всем тем, кто интересуется античной и средневековой археологией, историей и культурой.

Four terracotta busts of a woman with unique attributes were unearthed in Olbia during excavations of 1936 and 1959. The attributes include a cone-shaped bowl on the head, corymbs in the hair, a taenia on the forehead and floral décor. For a long time, scholars considered the woman a personification of goddess Demeter. At the beginning of the 21st century, the Danish scholar Pia Guldager Bilde was the first to change this attribution to Ariadne, Dionysus’ wife, based on five small fragments of similar busts found during N. O. Leipunskaia’s excavations in the sector of the «Lower town: North» (NGS) in Olbia. Following other scholars, she also identified them as thymiateria – utensils for incense burning in bowls. Despite the absence of other characteristic elements and traces of soot, they were named “Ariadne thymiateria”. Later, T. M. Shevchenko published seven more fragments of similar busts, which in her recent publications were identified as thymiateria depicting one of the parti...

The finds of the fragments of bronze vessels of the second half, in particular, possibly the third quarter of the 6th century BC, in the North Pontic area: Berezan, Olbia, Pantikapaion and Mirmekion – are very rare and are represented by the attachments of lebetes or basins of the types, widespread in Greece and South Italy, as well as a fragmented Etruscan infundibulum, which most likely found its way to Pantikapaion with Ionian colonists. In the late 6th – first half of the 5th century BC a series of bronze strainers and ladles reached Olbia and Scythian tumuli of the right bank of the Dnieper. Some of them were still in use, though being reworked, up to the second quarter of the 4th century BC. Being previously determined by Z.A. Bilimovich as the products of Etruscan workshops, these strainers were actually mainly manufactured by the workshops of Greece and South Italy. Only a small part of them could really be made in Etruria. In addition to the abovementioned categories of bronzeware, the Scythian burials of the first half – middle of the 5th century BC yielded albeit rarely, oinochoai, hydrias and hemispherical bowls, and in the second half of the century – podanipters. Noteworthy is almost lack of imported bronze drinking vessels.
Against this background stands out due to its artistic qualities and dimensions the bronze krater from Martonosha in the Middle Dnieper basin, the burial-mound located about 300 km north of Olbia, but not far from the sources of the South Bug, undeservedly forgotten by the modern researchers of the North Pontic area.
It is perfectly clear that the vessel from Martonosha is on a par with such unique and expensive articles as kraters from Vix and Trebenishte, which are considered by many researchers as diplomatic gifts, specially made for the barbaric elite. Both in Gaul and in the Central Balkans, the kraters found their way into burials not earlier than in the late 6th century BC, after about half a century or even more of use, being already antique objects. That means that either they were obtained as second-hand by their last owners, or they could be gifted to their predecessors, who had used them for a considerable time, before these antiquarian items were put into the graves of their descendants. We did not know how the matter was in the case of the burial from Martonosha (whether the krater was put in the burial at about the same time, in this case, shortly after manufacturing, or later), but a similar scenario cannot be ruled out.

This study examines local and imported terracottas discovered in Olbia Pontike depicting the Mother of the Gods seated on a throne. Two of these were produced in a west Pontic centre from a single mould imported from northwestern Asia Minor, while the third was produced in Olbia based on these two. In the original, a lion cub was placed beneath the goddess’ feet, while in the Olbian version the cub was shown in the goddess’ lap. Sphinx images were also included in similar figurines as throne ornamentations. This motif had roots in Asia Minor and the western Black Sea region. Design peculiarities  find  parallels  in northwestern Asia Minor. On a figurine produced from a Pergamon mould, the goddess has seated sphinxes on either side. This style originates in  monumental images of the goddess with sphinxes from Lydia and Cyprus. The process of diminishing the sphinxes’ size, as well as of their significance in the goddess’ iconography, can be followed from south to north in the 4th century BC, as such elements become more decorative in Olbia and Callatis. Versions of this simplified model began to be produced in ancient Greek centres in Asia Minor in the 3rd–2nd centuries BC.

Late Archaic terracottas with movable limbs made in Corinth are analyzed in the article. The series includes finds from Olbia, its chora, and Berezan kept in the scien-tific funds of the Institute of Archaeology of the National Academy of Sciences of Ukraine. The analysis of archaeological and literature sources and of fine arts data al-lows the author to presume that such figurines could have been worn by participants of the cults in the way mentioned by Herodotus. Namely, the members of cultic prac-tices were hanging them on their neck or were attaching them to their clothes during the rituals. Such one-sided terracottas were put into tombs with these clothes. Rough-ly made lower part of these figurines could be covered with miniature clothes and used like this during the rituals. The depictions of women with high polos on their heads in Corinthian hanging figurines present the participants of agricultural cults. Found in dwellings, they were apparently used mainly in family cults.

Bust thymiateria, or images of goddesses with almost half a figure and with cups on their heads, are quite common in the
Ancient Greek centres of the Black Sea area in the Hellenistic period. Despite their origin in other regions, large number
of them were found in Pontic cities, such as in Olbia Pontica, Gordion, Amisos, Tauric Chersonesos, Myrmekion, Odesos,
and Callatis, while in Gorgippia and Hermonassa, such items were found one in each. Thymiateria depicted Aphrodite or
the participants of Dionysiac cult, rarely Mother of the Gods or Isis.
In Olbia, there are several variants of bust thymiateria depicting a goddess without any attributes necessary for cultic
image attribution. Terracottas of one of such variants are published and analyzed in this paper. They find their precise
analogies among the materials of Callatis and Myrmekion. They are the images of a goddess wearing stephane, which
is shown already in the mould, and earrings, with long strands of hair put on the shoulders and without clothes shown.
They were found in a single context of the botros at the Eastern (Central) Temenos. This botros was situated not far from
the coroplast’s workshop. This fact leads to the assumption that most of them were moved into the botros directly from the
workshop and were never used. Peculiarities of the production technology, namely, manually shaped back and similar
manner of processing the inner surface and the lower edge evidence that all of them were made by the same coroplast in
the mould, perhaps imported, of which only one, the facial, side was available.
The question whom the bust thymiateria serially produced in Olbia and known in other Ancient Greek centres of the Black
Sea area depicted cannot be flatly answered. It can be only presupposed that considering the finds of bust thymiateria
depicting Aphrodite found in the same botros, the lack of clothes, and the attention paid to the jewellery in the image, the
terracottas analyzed here also could be related to this cult.

The new data that have become available in the last two decades show that the Scythian Kingdom with its capital in Neapolis Scythica, which existed in the Crimea in the 2nd century BC, was much closer to Hellenistic states ruled by barbarian dynasties than to nomadic kingdom of the Scythians of the 4th century BC. At the same time, these data allow us to return in part to the old view formulated by Rostovtzeff about continuity between the Scythia of the 4th century BC and the Late Scythian Kingdom, which most researchers have rejected during the last thirty years. It turned out that this continuity existed at least at the ideological level, and the excavations at Ak-Kaya (Vishennoe) filled the chronological gap between the Scythian Kingdoms of the 4th and 2nd century BC. Apparently, Ak-Kaya became one of the political centres of the Scythians as early as the late 4th century BC, before the fall of "Great Scythia", and the capital of the Crimean Scythians was located there before it was moved to Neapolis Scythica. In the formation of Late Scythian culture and the Late Scythian Kingdom with its capital first in Ak-Kaya and then in Neapolis Scythica, apart from the Scythian elements, sedentary Tauri took part, as well as probably the Greeks and the Hellenized population of the chorai of the Greek cities in northwestern Crimea. A key role in changing the character of Scythian culture was apparently played by a change in its economic-cultural type and the transition from nomadic pastoralism to

Maryna Rusiaieva. On Ancient Greek Thymiateria and Their Purpose.

The paper looks at the ancient Greek thymiateria and aims at finding data in literary, epigraphic and visual sources that would cast light on the use of thymiateria in private and public rituals of the VIІ th century BC-IV th century AD. Systematic collection of data and its comparative historical analysis were in the core of the methodology. Among the main methods of analysing the collected sources, one should mention empirical, analytical, structural-typological and iconographical methods. A thymiaterion (an incense burner) is firstly mentioned in the V th century BC in Herodotus' Historia. In centuries to come, the panhellenic name of thymiaterion would dominate and enter to Roman and Germanic languages. This device was used solely with fire, charcoal or heated pebbles to burn aromatic compounds, incense and aromatic plants and flowers in particular. Thymiateria didn't have any fixed shapes or sizes. In narrative sources, they were also named bomiskos, libanotis (libanotris), escharis, tripodiskos etc. In this paper, I examine the basic constructive elements of thymiateria. As visual sources and lyric poetry suggest, they were used in the archaic period. The earliest instance of the use of thymiateria in the ritual practice date late to the VI th century BC in the Phanagoria of the Bosporus. The thymiateria is depicted on mostly in mythological scenes on the Athenian red-figure pottery late of the V th-IV th centuries BC found in Panticapaeum and in the surrounding area. The Greek iconography of mythological scenes on the vases was clear for the locals. The majority of visual, numismatics and epigraphic sources that reveal the use of thymiateria on the Bosporus are dating to the IV th-ІІ th centuries BC, when they were spread in Hellenistic Greece and, especially in sanctuaries of Delos. Although aroma was an essential part of thymiateria culture, only Orphic Hymns cast light on the use of particular incenses (in pure form or in compound) for each gods or heroes. One important question persists: which aromas were burnt in thymiateria and from which countries were they brought to Greece? From literary sources, we know that plant-based aromas, namely incense and myrrh were brought from South Arabia and Syria. Thymiateria were used during rituals in sanctuaries and temples, during religious processions, funerals, symposiums and wedding that were accompanied by aromatic smoke. The present essay should be regarded as a starting point for the further in-depth study of thymiateria from the Northern Black sea region and Olbia in particular.

The cult of Apollo Ietros, testified by many Olbian inscriptions, in Archaic and Classical periods is attested to only in several Milesian colonies of the Black Sea coast and nowhere
else in the Greek world. Contrary to the common opinion that the cult was purely Greek, I share
the view that it had an indigenous component. Even the epiclesis Ietros originally derived from
a Thracian name of a river-god, and only later was associated with the Greek word ietros (healer). The cult of Apollo Ietros shows the influence of the indigenous population on the Greek
colonists and mutual penetration of the indigenous and Greek elements in the Black Sea area.

Елліністичні глиняні півфігури з Ольвії // Археологія та давня історія України. Вип.1 (18). К., 2016 – С. 43—50
Published here are half-figured terracotta female depictions of the Hellenistic period from the collection of excavations by L.M. Slavin kept in the Scientific Funds of the Institute of Archaeology, NAS of Ukraine. Brief descriptions, the places of find, and the dates are presented. Discussed both known in the literature depiction of a goddess in chiton, and similar fragments, as well as two analogous depictions of a goddess with a wreath, which owing to its recently found fragments unpublished before, should be also referred to half-figures. Taking into account the new research, the attribution is specified. Not all the half of the figure depictions represent Kore-Persephone. Various handmade details on headdresses and decorations, attached after moulding in cast, correspond to the images of many goddesses related to the family cults, including the images of Dionysus cult participants.
The impetus for creating only half of a figure was more of an issue of function and convenience in usage. During the Hellenistic period, locally made terracottas increase in size and loose in elegance, and at the same time the attention is paid to the face and decorations. More heavy and bulky statuettes required unprecedented skills from the coroplast to make them steady and convenient in their usage as votives. Half-figures were the solution of this task. With larger faces and decorations, and at the same time, not too big to be unsteady, with the wide lower part and thick smoothly cut edge, they were easily placed on the offering table or other horizontal surface.

=Бойко-Гагарін А. Античні та східні монети з колекції Владлена Анохіна в експозиції Музею грошей Національного банку України. Науковий вісник Ізмаїльського державного гуманітарного університету: збірник наукових праць. Серія: Історичні науки. Ізмаїл: РВВ ІДГУ, 2021. Вип. 55. С. 11-17.

Dedicatory graffiti from the excavations of the Southern temenos in Olbia undoubtedly testify to the existence in the area not only of an Aphrodite’s temenos but also a local hero Angelos’ sanctuary synchronous with the earliest inscriptions. Unlike the previous evidence for the Aphrodite’s cult in Olbia, all disparate and dating back to different periods, the Southern 40 temenos has for the time provided rather a large number of materials about that cult. In spite of the graffiti’s fragmentary character it was possible to divide them into groups and to analyze some of them. Their paleography is basically in agreement with the sherds’ relative dating. The majority of the graffiti belongs to the early Aphrodite’s sanctuary. One of the graffiti is especially worth mentioning; it is (Ἀφροδίτ)ης Δημίης “(that) of People’s Aphrodite” similar to Aphrodite Pandemos (“All People’s Aphrodite”) well known in the Hellenistic world. Given very close links between Olbia and Athens it is tentatively suggested that Ἀγγελος ἥρως might have been the olbiopolite owing to whose wisdom not only some Boristhene inhabitants but also those of near-Olbia areas were relocated to Olbia for further strengthening the city-polis and its civil community. The sources enable us to assume that the pre-Gaetic town had two Aphrodite’s sanctuaries, Ourania in the Western and Pandemos in the Southern temenos.

Two fragments of a lapidary epigram with a mention of tyrannicide(s) found in Olbia Pontica in 1970 and 1985 have been joined and published by J.G.Vinogradov in his “Political history of Olbia” (1989). Vinogradov interpreted the stone as a base of monument erected by Olbiopolites to a local tyrannicide and identified this local hero with a certain Heuresibios known from other inscriptions from Olbia. The section (1) of our article shows that Vinogradov’s reconstruction of the Greek text cannot be correct both on the grounds of grammar and style. The particle γοῦν, typical for Attic prose, is alien to the language of epos and elegy, no Greek verse could ever begin with γοῦν. Τhe attempt to insert the name of Heuresibios in the first line is unfortunate. The second fragment of the stone found in 1985 proves without any doubt that the epigram glorifies tyrannicides, not one tyrannicide (the reading οἱ κτάνον ἄνδρα τύραννον imposes itself as the only possible, Vinogradov’s οὐ κτάν᾽ ὅς being faulty Greek).  On the ground of the close similarity of the Olbian epigram with a Hellenistic epigram for Harmodios and Aristogeiton from Chios published by Lloyd-Jones, we identify the tyrannicides with the famous Athenian heroes. In section (2) we date the stone and the inscription to the last third of the fourth century B.C. It is at this time after the siege of Zopyrion that a series of dedications to Zeus Eleutherios were made. However, the text of epigram may be older than this stone. Olbia, like Chios, was a member of the Delian league, the cult of Harmodios and Aristogeiton was a part of Athenian political propaganda in allied poleis. The similarity with the Chios epigram should be explained by a common source. In section (3) we argue that the text of the Olbian epigram is probably based on the epitaph of Athenian tyrannicides in the Demosion sema in Kerameikos, not on the inscription of the older statue in agora. This epitaph was composed by a first-class professional poet who probably won a competition. Since the Chios collection of epigrams, including the one for Harmodios and Aristogeiton, may have been a gift of Ion of Chios to the gymnasium of his native city, Ion appears to be a plausible candidate for  the authorship.
Vinogradov' hypothesis of  a 5th century tyranny in Olbia lacks evidential basis. Vasily Latyshev's view of 5th century democratic Olbia remains valid.

This article publishes the terracotta thymiateria (incense burners) from Olbia Pontica which represent busts of Aphrodite with Erotes on her shoulders. They were used probably in activities related to Aphrodite's cult for diffusing incense and as votives. They derive from excavations at houses, a stoa and the bothroi (sacrificial pits) at the central and western temene; they date to the period between the late third and the first half of the second centuries bc. The publication of such items coincides with ongoing research into the southern sacral precinct in Olbia dedicated to Aphrodite. This article explores the significance of the iconography of these objects and their use in cult activity related to the cult of Aphrodite at Olbia.

This article publishes the terracotta thymiateria (incense burners) from Olbia Pontica which represent busts of Aphrodite with Erotes on her shoulders. They were used probably in activities related to Aphrodite's cult for diffusing incense and as votives. They derive from excavations at houses, a stoa and the bothroi (sacrificial pits) at the central and western temene; they date to the period between the late third and the first half of the second centuries BC. The publication of such items coincides with ongoing research into the southern sacral precinct in Olbia dedicated to Aphrodite. This article explores the significance of the iconography of these objects and their use in cult activity related to the cult of Aphrodite at Olbia.

The inscription SEG 30: 977, known as the calendar graffito, is one
of the most interesting documents from Olbia and attracts scholarly attention
for more than forty years. It contains a dedication to the god Apollo with
several epicleseis, and a list of the twelve months, identical to the calendar of
the Olbian metropolis Miletos, but for the spelling of several months’ names.
The list of Apollo’s epicleseis, as well as such a list of the months, are unique in
Greek epigraphy. Calendar inscriptions are common since the 4th century BCE,
but the Olbian inscription is traditionally dated to the second quarter of the
5th century BCE, and therefore considered as the earliest calendar inscription
in the Greek world. This date is however incorrect and should be moved to
the beginning of the 4th century, on the basis of the script and spelling of the
graffito, as well as the form of vessel.

В статията се установява връзката между три
теракоти, изобразяващи Великата майка на боговете на трон.
Две от тях, съдейки по фрагментите им, са направени в един
и същ калъп в северозападната част на Мала Азия, а третата
– в Олбия Понтика – по техен образец. Първите се датират в
IV – началото на III в. пр.Хр., а последната – приблизително в
средата на III в. пр.Хр. Отпечатъкът на вносната теракота е
преработен в съответствие с местните вкусове и представи.
Докато върху първичното изображение лъвчето е разположено под краката на богинята, то при паметника от Олбия то е
в нейния скут.
Установено е, че при всички статуетки в декора на подлакътниците на трона присъства изображение на сфинксове.
Аналогии на такива теракоти са известни от Мала Азия и Западното Черноморие. Орнаменталният мотив в украсата на
трона е широко използван при статуетките от Мирина (на
западния бряг на Мала Азия). Оформянето на други детайли и
особености в изобразяването на лъвчето също намират свои
паралели в северозападната част на Мала Азия. Сфинксове, седящи от двете страни на Богинята майка, са известни от фигурка, направена в калъп от Пергам. Този тип от своя страна
произхожда от изображенията на големи сфинксове до Богинята майка от Лидия и Кипър.
ТЕТЯНА М. ШЕВЧЕНКО
150
Намаляването на размерите и значението на сфинксовете в иконографията на Великата майка на боговете може да
бъде проследено от юг на север, където, по-специално в Олбия
и Калатис (на брега на Черно море), сфинксът се появява като
орнаментален мотив още през IV в. пр.Хр. Този мотив са пренася върху изображения на други култови мебели.
Вносните фигурки се различават от местните по наличието на символи с апотропейни функции: ръмжащ лъв с озъбена паст и сфинкс. Това ги доближава до хтонични представи в култа към Великата богиня майка. Вносните статуетки
са открити в съседни къщи в района на агората на Олбия,
собственост на богати граждани, единият от които е бил
важно лице в религиозния живот на полиса. Очевидно той или
негови потомци са били запознати с коропластиката или коропласта, тъй като тяхната фигурка е послужила като модел за изработване на местна продукция.
Фигурката аналог от Олбия е била пренесена в дар на Богинята майка, тъй като е открита почти неизползвана в един
от ботрюсите в западния теменос. Опростени изображения,
моделирани по теракоти от този образец, са произвеждани
също така и в други антични центрове на Мала Азия и Западното Черноморие през II – III в. пр.Хр.

The article presents a set of terracottas kept in the scientific funds of the Institute of Archaeology of NASU, from excavations undertaken in 1940—1960-s, selected by formal feature: existence of special hanging holes made predominantly in raw clay. Characteristics, dating, and the analogies to the depictions viewed are suggested. It is determined that the way of bonding the cord changed over the time. Perhaps, this reflects changes in the way of usage of hanging terracottas. It is noted that in the Hellenistic period holes were made in more diversified ways, than in the previous time, and sometimes they were made in ready-made terracottas not designed for being hanged. Clay pigeons, judging by the vertical hole, were hanged to the ceiling. Analysis of archaeological and literature sources and data from the fine arts allows the author to presume, that hanging terrracottas were used for various cultic aims. The main purpose of terracottas was the offering of them to the deity. Some, for instance, protomes with cylinder on the back side, were hanged, possibly on the walls of the sanctuaries. It is not excluded that in archaic period small protomes, as well as figurings with pendant extremity, could have been worn by participants of the cults in the way mentioned by Herodotus. With their clothes such one-sided terracottas were getting into tombs. The depictions viewed present Demeter, Cora-Persephone and Erotes-Tanatos, and also the participants of agricultural cults. Found in dwellings and at the territory of public sanctuaries, they were used both in family, and in polis cults of agriculture gods.

In: Археологія. 2014. № 3. С. 32—44
In the article, the relation between three terracottas depicting the Mother of the gods on the throne is determined. Fragments of two of them were made in one of the West Pontic centres in a single mould which was apparently imported from the north-western part of Asia Minor, the third one was made in Olbia based on the example of these figurines. The former ones are dated by the second half of the 4th c. BC and the beginning of the 3rd c. BC, while the latter is dated approximately by the middle of the 3rd c. BC. Cast made by the imported terracotta was altered according to the local tastes and religious believes. While the lion cub on original depiction is located under the foot, it appears on the lap of the goddess on the Olbian example.
It is ascertained that all the statuettes contained the depictions of sphinxes on the throne decoration. This motive in terracotta depictions of the Mother of the gods is known in Asia Minor and the west coast of the Black Sea. Analogous ornament was widely used on statuettes from Myrina. Parallels in design of other details and peculiarities of lion depiction also find their parallels in the north-western part of Asia Minor. Sphinxes sitting on both sides of the Mother of the gods are known on the statuette made in the mould from Pergamon. This type, in its turn, finds its roots in depictions of big sphinxes near a goddess from Lydia and Cyprus. The process of diminution in sphinxes’ size and significance in iconography of the Mother of the gods can be traced from the south to the north where, for instance, in Olbia and Callatis they are presented within the ornamental motif already in the 4th c. BC. This motif was transferred to depictions of other cultic furniture.
Imported statuettes derive from the local ones with the apotropeic symbols: a lion with showed tongue and a sphinx. This fact approaches them to chthonic ideas in cult of the Mother of the gods. These statuettes were found at the neighbouring houses in the area near agora which belonged to the wealthy citizens one of whom was an important person in the polis’ religious life. Apparently, some of them or their adherents were acquainted with coroplastics or a coroplast because his figurine became an example for making the local products. Analogous Olbian statuette was donated to the goddess, as it was found almost unused in one of botroi at the Western Temenos. Simplified depictions modelled by the terracottas of such type were produced also in Ancient Greek centres in Asia Minor in the 3rd and the 2nd c. BC.

В работе впервые публикуются и анализируются клейма эллинистического времени из поселения Викторовка-I и кургана у с. Кривая Балка на правобережье Южного Буга. Пять оттисков из зольника № 2 поселения Викторовка-I позволяют констатировать попадание клеймёной амфорной тары в данный объект на протяжении пятидесяти лет – с 20-х гг. IV в. до н.э. по начало 60-х гг. III в. до н. э. Находка клейма из насыпи кургана у с. Кривая Балка подтверждает существование скифских памятников в регионе в III в. до н. э.
The paper publishes the stamps of the Hellenistic time from Victorovka-I settlement and the barrow near Krivaja Balka village on the right bank of the South Bug for the first time. Five stamps from the cider heap No. 2 of the Viktorovka-I settlement allow us to state that stamped amphora tare has fallen into this object for fifty years - since the 20s of the IV century BC to the early 60s of the III century BC. The finding of the stamp from the mound of the barrow near Krivaja Balka village confirms the existence of Scythian sites in the region in the III century BC.

Analysed is a series of bust thymiateria with handmade details: stephanes, earrings, and buttons fastening chiton on shoulders. Handmade cups on their heads were not the headdress, but the functional details, and were probably used in some rituals as containers for incenses. A detailed analysis shows that several of them were produced in a single mould, two items produced not in Olbia, and on some of them tainia on the personage’s head were shown already in a mould. It is traced that the busts are close to Olbian semi-figures of bigger size and with more elaborate, though also handmade, adorations. Stylistically, this group can be dated by the first half of the 3rd century BC. Almost all of them come from the excavations at dwelling quarters and were probably used in family cults. They were often found with other terracottas’ fragments, namely, with images of the Mother of the Gods and Dionysus.
These busts belong to one of several groups of Hellenistic thymiateria. They are the least definite for attribution. Personages of other groups present the reliable features of their relation to the cults of Aphrodite, and Dionysus. Similar thymiateria from other Ancient Greek centres represent images of the same circle of the gods. Here, an attention to decorations and the clothes can only indirectly indicate for an image of Aphrodite or a participant of her cult, while spherical adornments attached most often to the temples, together with tainia on the heads of several items, can be hypothetical a part of a wreath made of ivy fruits, as on the heads of Dionysiac characters. Consequently, there are no reliable grounds yet for a definite attribution of these thymiateria’s images. There are also no grounds to see Demeter or Kore-Persephone in them. The study of other groups of Olbian busts-thymiateria is perspective for the further attribution.

Strong links between the cults of apoikiai and metropoleis, forging the Hellenic identity of the colonists, have long been recognised. It becomes increasingly clear that in addition, the mental world of the population of colonies was conditioned by amalgamation of Greek and local identities. Many important cults of Greek cities in the northern Aegean and the Black Sea area, such as Abdera, Odessus, Olbia, Chersonesus, and the Cimmerian Bosporus, featured both Greek and indigenous elements, their scope and nature varying from place to place. Appropriation of local gods can also be viewed as part of appropriation of the local territory and its traditions. The adaptation of Hellenic gods to the new setting and worship of local gods started at an early stage and served as a powerful cognitive mechanism establishing safe ties to the environment, mediating between different ethnic groups, and shaping people’s self-image and communal identity. The innovations in cult were often expressed by changing names or epithets of deities, emphasizing the change in their nature and functions.

Colloque international organisé par le pôle de recherche "Etudes Bosporanes" à l'Université de Lausanne, jeudi 13 et vendredi 14 décembre 2018.

La cité grecque d’Olbia, fondée sur les rives du Boug au début du VIe siècle av. J.-C., a joué un rôle central dans l’histoire des cités-Etats du bassin septentrional de la mer Noire durant l’Antiquité. A ce titre, le territoire d’Olbia Pontique est l’objet de fouilles archéologiques organisées régulièrement depuis le début du XXe siècle.

Les différents thèmes abordés lors du colloque s’articulent autour de ce site de référence : la problématique des interactions entre la population grecque d’Olbia et les populations scythes et sarmates profite d’un éclairage particulier et met ainsi en exergue le rôle et l'influence de la cité sur les populations voisines, dès l'époque archaïque.

En réponse à la menace grandissante que représentent les peuplades arrivant tour à tour des steppes eurasiatiques, l’Empire romain entreprendra d’importants travaux de fortification d’une ligne défensive qui poursuivra en quelque sorte le limes rhéno-danubien. Cette thématique de premier plan parachèvera ce colloque comme en triptyque.
Programme et informations sur: www.unil.ch/eb

Kotenko Viktoriia Relations between Chersonesos and Olbia on the analysis of Hellenistic tableware
The issue of relations between Chersonesos and Olbia on the archaeological sources at Hellenistic period a long time has been
considered in the scientific literature. The nature of political relations between these polises at this time are unclear, regardless
of the source base provided massive archaeological material, which are pottery. Mutual trade and economic contacts between
polises demonstrates primarily by the Chersonesian material from Olbia presented by container amphorae, that was investigated
by M.I. Zolotarev, and tableware.
The source base in this case is a ceramic complex from Maslyny settlement of Chersonesian chora with a wide range of
Chersonesian products of Hellenistic period, and painted pottery from excavations of Olbia. Archaeological material from
Maslyny settlement contains some finds which clearly demonstrates the trade and economic contacts between Chersonesian and
Olbian polices. It presented by grey-ware pottery (fish plates, small jugs, kantharoi), which made in ergasteria of Olbia according
to preliminary conclusions based on the study of mass Olbian Late Archaic material.
Reverse side  of Chersonesian and Olbian contacts traced on the analysis of table painted ceramics. Imported dishes of
Chersonesian production in Olbia represented by the compact groups of table jugs with painting and small container in the form
of flasks. Painted dishes presented by jugs of various shapes with floral ornament or horizontal stripes red or brown color located
mainly in the middle part of vessel. Similar pottery is known in Chersonesos and in the settlements of its chora, where it belongs
to mass ceramics material.
Based on the results, should also review the thesis of Chersonesos and Olbia conflict. Military conflict between Chersonesos
and Olbia has very local character, given the proven economic relations between polises at Hellenistic time based on the
materials of the settlements of Chersonesian chora, in particular Maslyny settlement and Olbia.
Thus, based on the analysis of tableware from Olbia and from Maslyny settlement of Chersonesian chora, which consists
mainly of gray-ware products and painted jugs, we found out that between these polises existing trade and economic relations in
the Hellenistic period. Moreover, we can talk about the existence of northwestern vector of Chersonesian trade, which was
directed to ancient polises in the Northwestern Black Sea region.
Keywords: Ancient time, North Black Sea region, Tauric Chersonesos, Olbia, Maslyny, grey-ware pottery, painted pottery