On the Study of the Scenes of Torment in the Art of People of Pazyryk Culture Based on Materials from Kurgan 11 of the Berel Graveyard in the Kazakh Altay
In this paper, we present the analysis of the scene from a saddle cover found in kurgan 11 of Berel (4th— 3rd centuries BC). This material was first published in the Povolzhskaya Arkheologiya journal (Алтынбеков и др. 2019; Джумабекова, Базарбаева 2019). Here, we provide new data based on the a...
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irk-123456789-1875442023-01-07T01:26:46Z On the Study of the Scenes of Torment in the Art of People of Pazyryk Culture Based on Materials from Kurgan 11 of the Berel Graveyard in the Kazakh Altay Bazarbayeva, G.А. Jumabekova, G.S. Образ у скіфів In this paper, we present the analysis of the scene from a saddle cover found in kurgan 11 of Berel (4th— 3rd centuries BC). This material was first published in the Povolzhskaya Arkheologiya journal (Алтынбеков и др. 2019; Джумабекова, Базарбаева 2019). Here, we provide new data based on the analysis of the informative elements of the animal images and broaden the range of the analogies. In the archeology of the Early Iron Age of the eastern part of Eurasia, materials from permafrost mounds are of great importance. They allow to clarify in many respects various elements of material culture of the population living in the region. The state of preservation of the contents of the tomb can be compared with ethnographic exhibits. In 1998—1999 international expedition of the Institute of Archeology. A. H. Margulan under the leadership of Z. Samashev studied the mound 11 cemetery Berel (4—3 centuries BC) in the Kazakh Altai, which preserved the lens of permafrost. The peculiarity of the excavations was that the contents of the burial chamber were removed in separate blocks for further study in the laboratory. Cabinet research was conducted in the winter of 2000. Since then, part of the material was stored in a freezer in the research and restoration laboratory «Island of Crimea». Under the leadership of K. Altynbekov, organic artifacts were gradually restored and preserved. A recent discovery by laboratory staff was the discovery of the remains of a saddle cover embroidered with a scene of torture by four ungulate predators. This material was first published in 2019 in the journal «Volga Archeology ». This article provides materials that significantly complement the above analysis. The range of analogies has been expanded. In the interpretation of certain zoomorphic images, emphasis is placed on ornamental elements. In particular, stylized images of spiral curls found in materials from monuments of Central Asia: in the Altai, Tuva, Ordos were analyzed in detail. The analyzed plot on the saddle cover from Berel is close, but not identical to the drawings that have survived as tattoos on the buried from Pazyryk, Ak-Alahi, Verkh-Kaldzhin. The reception in the form of blackening of certain content elements in the transfer of images of animals, both real and fantastic, attracts attention. One of the favorite plots in the art of the Pazyriks is the scene of torment, which conveys the traditional idea of the cycle of life and death, rebirth through death. В археології раннього залізного віку східної частини Євразії велике значення мають матеріали з курганів із мерзлотою. Саме вони дозволяють багато в чому прояснити різноманітні елементи матеріальної культури населення, що мешкало у регіоні. Стан збереженості вмісту внутрішньомогильної споруди можна порівняти з етнографічними експонатами. У 1998—1999 рр. міжнародна експедиція Інституту археології ім. А. Х. Маргулана під керівництвом З. Самашева вивчала курган 11 могильника Берел (IV—III ст. до н. е.) у Казахському Алтаї, в якому збереглася лінза мерзлоти. Особливість розкопок по- лягала в тому, що вміст поховальної камери виймався окремими блоками з метою подальшого вивчення у лабораторних умовах. Кабінетні дослідження проводилися взимку 2000 р. З того часу частина матеріалу зберігалася у морозильній установці у науково-реставраційній лабораторії «Острів Крим». Під керівництвом К. Алтинбекова артефакти з органіки поступово реставрувались та консервувалися. Нещодавнім відкриттям співробітників лабораторії стало виявлення залишків сідельного покриття з вишивкою, що містить сцену терзання чотирма хижаками копитної тварини. Вперше цей матеріал було опубліковано у 2019 р. у журналі «Поволзька археологія». У цій статті наводяться матеріали, що суттєво доповнюють викладений раніше аналіз. Розширено коло аналогій. У трактуванні тих чи інших зооморфних образів, зроблено акценти на орнаментальних елементах. Зокрема, детально проаналізовано стилізовані зображення спіралеподібних завитків, що зустрічаються у матеріалах з пам’ятників Центральної Азії: на Алтаї, Туві, Ордосі. Аналізований сюжет на сідельному покритті з Берела близький, але не ідентичний малюнкам, що збереглися як татуювання на похованих з Пазирика, Ак-Алахі, Верх-Кальджіна. Привертає увагу прийом у вигляді зачорніння тих чи інших змістовних елементів у передачі зображень тварин, як реальних, так і фантастичних. Один з улюблених сюжетів у мистецтві пазирикців — сцена терзання, передає традиційну для досліджуваної епохи ідею круговороту життя і смерті, відродження через смерть. 2021 Article On the Study of the Scenes of Torment in the Art of People of Pazyryk Culture Based on Materials from Kurgan 11 of the Berel Graveyard in the Kazakh Altay / G.А. Bazarbayeva, G.S. Jumabekova // Археологія і давня історія України: Зб. наук. пр. — К.: ІА НАН України, 2021. — Вип. 4 (41). — С. 107-120. — Бібліогр.: 44 назв. — англ. 2227-4952 DOI: 10.37445/adiu.2021.04.08 http://dspace.nbuv.gov.ua/handle/123456789/187544 [904.5:73.02.](571.15)”638” en Археологія і давня історія України Інститут археології НАН України |
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Образ у скіфів Образ у скіфів |
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Образ у скіфів Образ у скіфів Bazarbayeva, G.А. Jumabekova, G.S. On the Study of the Scenes of Torment in the Art of People of Pazyryk Culture Based on Materials from Kurgan 11 of the Berel Graveyard in the Kazakh Altay Археологія і давня історія України |
| description |
In this paper, we present the analysis of the scene
from a saddle cover found in kurgan 11 of Berel (4th—
3rd centuries BC). This material was first published in
the Povolzhskaya Arkheologiya journal (Алтынбеков и
др. 2019; Джумабекова, Базарбаева 2019). Here, we
provide new data based on the analysis of the informative
elements of the animal images and broaden the
range of the analogies.
In the archeology of the Early Iron Age of the eastern
part of Eurasia, materials from permafrost mounds
are of great importance. They allow to clarify in many
respects various elements of material culture of the
population living in the region. The state of preservation
of the contents of the tomb can be compared with
ethnographic exhibits. In 1998—1999 international
expedition of the Institute of Archeology. A. H. Margulan
under the leadership of Z. Samashev studied the
mound 11 cemetery Berel (4—3 centuries BC) in the
Kazakh Altai, which preserved the lens of permafrost.
The peculiarity of the excavations was that the contents
of the burial chamber were removed in separate
blocks for further study in the laboratory. Cabinet research
was conducted in the winter of 2000. Since then,
part of the material was stored in a freezer in the research
and restoration laboratory «Island of Crimea».
Under the leadership of K. Altynbekov, organic artifacts
were gradually restored and preserved. A recent
discovery by laboratory staff was the discovery of the
remains of a saddle cover embroidered with a scene of
torture by four ungulate predators. This material was
first published in 2019 in the journal «Volga Archeology
». This article provides materials that significantly
complement the above analysis. The range of analogies
has been expanded. In the interpretation of certain
zoomorphic images, emphasis is placed on ornamental
elements. In particular, stylized images of spiral curls
found in materials from monuments of Central Asia: in
the Altai, Tuva, Ordos were analyzed in detail.
The analyzed plot on the saddle cover from Berel is
close, but not identical to the drawings that have survived
as tattoos on the buried from Pazyryk, Ak-Alahi,
Verkh-Kaldzhin. The reception in the form of blackening of certain content elements in the transfer of images
of animals, both real and fantastic, attracts attention.
One of the favorite plots in the art of the Pazyriks is the
scene of torment, which conveys the traditional idea of
the cycle of life and death, rebirth through death. |
| format |
Article |
| author |
Bazarbayeva, G.А. Jumabekova, G.S. |
| author_facet |
Bazarbayeva, G.А. Jumabekova, G.S. |
| author_sort |
Bazarbayeva, G.А. |
| title |
On the Study of the Scenes of Torment in the Art of People of Pazyryk Culture Based on Materials from Kurgan 11 of the Berel Graveyard in the Kazakh Altay |
| title_short |
On the Study of the Scenes of Torment in the Art of People of Pazyryk Culture Based on Materials from Kurgan 11 of the Berel Graveyard in the Kazakh Altay |
| title_full |
On the Study of the Scenes of Torment in the Art of People of Pazyryk Culture Based on Materials from Kurgan 11 of the Berel Graveyard in the Kazakh Altay |
| title_fullStr |
On the Study of the Scenes of Torment in the Art of People of Pazyryk Culture Based on Materials from Kurgan 11 of the Berel Graveyard in the Kazakh Altay |
| title_full_unstemmed |
On the Study of the Scenes of Torment in the Art of People of Pazyryk Culture Based on Materials from Kurgan 11 of the Berel Graveyard in the Kazakh Altay |
| title_sort |
on the study of the scenes of torment in the art of people of pazyryk culture based on materials from kurgan 11 of the berel graveyard in the kazakh altay |
| publisher |
Інститут археології НАН України |
| publishDate |
2021 |
| topic_facet |
Образ у скіфів |
| url |
http://dspace.nbuv.gov.ua/handle/123456789/187544 |
| citation_txt |
On the Study of the Scenes of Torment in the Art of People of Pazyryk Culture Based on Materials from Kurgan 11 of the Berel Graveyard in the Kazakh Altay / G.А. Bazarbayeva, G.S. Jumabekova // Археологія і давня історія України: Зб. наук. пр. — К.: ІА НАН України, 2021. — Вип. 4 (41). — С. 107-120. — Бібліогр.: 44 назв. — англ. |
| series |
Археологія і давня історія України |
| work_keys_str_mv |
AT bazarbayevaga onthestudyofthescenesoftormentintheartofpeopleofpazyrykculturebasedonmaterialsfromkurgan11oftheberelgraveyardinthekazakhaltay AT jumabekovags onthestudyofthescenesoftormentintheartofpeopleofpazyrykculturebasedonmaterialsfromkurgan11oftheberelgraveyardinthekazakhaltay |
| first_indexed |
2025-07-16T09:07:57Z |
| last_indexed |
2025-07-16T09:07:57Z |
| _version_ |
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| fulltext |
107ISSN 2227-4952 (Print), ISSN 2708-6143 (Online). Археологія і давня історія України, 2021, вип. 4 (41)
УДК [904.5:73.02.](571.15)”638” DOI: 10.37445/adiu.2021.04.08
G. А. Bazarbayeva, G. S. Jumabekova
ON thE StuDY Of thE ScENES Of tORmENt
iN thE ARt Of pEOplE Of pAZYRYK cultuRE
BASED ON mAtERiAlS fROm KuRgAN 11
Of thE BEREl gRAVEYARD iN thE KAZAKh AltAY
образ у Скіфів
In this article we analyse the scene of mauling from
the saddle cover found in mound 11 (4th—3rd с. BC) of
the Berel cemetery in the Kazakh Altay.
Keywords: Kazakh Altay, Early Iron Age, art.
Vyacheslav Murzin (1951—2019), a student of
the outstanding 20th century archaeologist Alexey
I. Terenozhkin (1907—1981), made every possible
attempt to maintain scientific contacts with mem-
bers of Kazakh archaeology. In 2019, his latest
article «Alexey Terenozhkin — the founder of the
Kyiv school of Scythian studies» was published in
Kazakhstan, in which V. Yu. Murzin pointed out
that for the first time he had come across some
materials on Kazakh archaeology in the library
of A. I. Terenozhkin, and that «...Alexey I. cher-
ished his friendship with his Kazakh colleagues,
closely following their field discoveries and scien-
tific developments. He insisted that I must do the
same as well...» (Мурзин 2019, с. 45) 1. Scientific
connections of V. Yu. Murzin with Kazakhstan
are clearly demonstrated by his involvement in
research volumes (Мурзин 2013; 2019; Мурзин,
Шлайфер 2017). He invited colleagues from Ka-
zakhstan to contribute to the almanac «History
of Weapons», in which he was deputy editor-in-
chief. The highlights of V. Yu. Murzin’s work are
succinctly described in the memoirs of S. S. Bes-
sonova and S. A. Skoriy (бессонова, Скорый
2020), the Scythologists from the Institute of Ar-
chaeology of the National Academy of Sciences of
Ukraine.
introduction. In archaeology of the Early
Iron Age of Eastern Eurasia, the results obtained
from the study of the mounds with permafrost,
1. Here and further our translation — B. G., D. G.
known in Kazakhstan, Russia and Mongolia, are
of specific importance. For the first time in the
history of science, this type of sites was studied
in the second half of the 19th с. in the Berel steppe
and in Katanda by V. V. Radlov, who was at the
time a teacher in the Barnaul District School of
Mines (Радлов 1989; юсупов 2012).
In Kazakhstan, kurgans with permafrost were
investigated in the Berel cemetery by the expedi-
tion of A. Kh. Margulan Institute of Archaeology
led by Z. Samashev (Самашев 2011).
In this paper, we present the analysis of the
scene from a saddle cover found in kurgan 11 of
Berel (4th—3rd centuries BC). This material was
first published in the Povolzhskaya Arkheologiya
journal (Алтынбеков и др. 2019; Джумабекова,
базарбаева 2019). Here, we provide new data
based on the analysis of the informative elements
of the animal images and broaden the range of
the analogies.
characteristics and analysis of the mate-
rial. The cemetery of Berel is located at the most
easterly region of the Republic of Kazakhstan,
where the four countries — Kazakhstan, Russia,
Mongolia, and China — share the borders (fig. 1).
Kurgan 11 (fig. 2) was investigated during the
two field seasons in 1998—1999.
In kurgan 11 (33.5 × 22.8 m in diameter, just
over 2 m in height), in a log coffin placed within
a log cabin, a 30—40 year old man and a 50—
60 year old woman were buried, accompanied by
13 horses (Самашев 2011, с. 51, 56, 123) (fig. 3).
In 1999, the content of the burial chamber was
extracted in blocks for further laboratory studies.
After completion of the archaeological work, or-
ganic objects were stored in a freezer in the labo-
ratory of K. Altynbekov. By the diligent effort of
the conservators, it was possible to recreate the © G. А. BAZARBAYEVA, G. S. JUMABEKOVA, 2021
108 ISSN 2227-4952 (Print), ISSN 2708-6143 (Online). Археологія і давня історія України, 2021, вип. 4 (41)
Образ у скіфів
fig. 1. Location of the Berel cemetery in Kazakhstan. The map was prepared by M. A. Antonov
fig. 2. The cemetery of Berel: an aerial view of the site (after Самашев 2011)
109ISSN 2227-4952 (Print), ISSN 2708-6143 (Online). Археологія і давня історія України, 2021, вип. 4 (41)
Bazarbayeva, G. А., Jumabekova, G. S. On the Study of the Scenes of Torment in the Art of People...
outstanding examples of the material culture of
the Kazakh Altay (Алтынбеков 2014). This work
continues to this day.
One of the striking works of ancient art, re-
stored in the Scientific and restoration labora-
tory «Ostrov Krym» (led by K. Altynbekov), is
the saddle cover, decorated with embroidery de-
picting a scene of mauling of an ungulate by four
predators of different species (suborders) (fig. 4;
Алтынбеков и др. 2019, с. 108—112, рис. 2; 6).
The technique of rendering of the animal hair
is similar to that recorded, for example, on the
saddles from the Berel mound 10 (Самашев
2011, рис. 29; 43), namely, highlighting parts or
fragments of the image with colour-contrasting
inserts. This technique was used on the saddle
covers with images of eagle-griffins («roosters»)
and androcephals from Berel, as well as on other
objects from the sites of the Pazyryk Culture (the
images of a sphinx on the carpet from the Fifth
Pazyryk kurgan, a moose on the saddle cover
from the Second Pazyryk kurgan, etc.).
Based on the size of the horns and the number
of semicircles on them, indicating the transverse
ridges, as well as a thick thorax mane of the un-
gulate animal, it can be assumed that the saddle
fig. 3. The cemetery of Berel, kurgan 11:
graphic reconstruction of theintra-burial
complex (after Самашев 2011)
110 ISSN 2227-4952 (Print), ISSN 2708-6143 (Online). Археологія і давня історія України, 2021, вип. 4 (41)
Образ у скіфів
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111ISSN 2227-4952 (Print), ISSN 2708-6143 (Online). Археологія і давня історія України, 2021, вип. 4 (41)
Bazarbayeva, G. А., Jumabekova, G. S. On the Study of the Scenes of Torment in the Art of People...
cover depicts adult sturdy mountain goats (Capra
sibirica). Their main threat were snow leopards
and wolves, which are shown in the discussed
mauling scene.
However, some details of the image, artistic
techniques of rendition of the patterns suggest
that the central character of the mauling scene
on the saddle is a horse disguised as a mountain
goat. Horns, which are similar to those of the
horses in masks from the Berel kurgans buried in
mounds 10 and 11, support this assumption.
Presentation of the horns of mountain goats as a
row of semicircles has been known from a number
of nomadic sites in the Central Asia — Aluchei-
den (Ordos), Dagan-Teli (Tuva), Aymyrlig 7
(Tuva), and others (богданов 2006, табл. LXV:
3; LXIII: 3; LXXIV: 2). However, in those cases,
depicted was obviously a goat rather than a dis-
guised horse. It is worth noting that the horns in
the image from Berel are as long as those sculpt-
ed on the masks of the co-buried horses in the
Berel kurgans. However, horns of the ungulate
animals depicted on the saddle cover are sharply
bent. It is also possible that this technique was
determined by the shape and size of the saddle
cover on which the scene was placed.
In the analysed image of the ungulate, of par-
ticular interest are the swirls located on the ani-
mal’s neck and divided into sectors Kurgan are
also coiled in a spiral and divided into sectors
(Руденко 1953, рис. 172, 178, 180). Similar, but
not identical to that of Berel, division of the twist-
ed horns into sectors, thus rendering a texture,
was applied to the saddle pendant from the First
Pazyryk Kurgan (Руденко 1953, табл. CXII).
Similar elements in the form of a spiral are
present in other images. For example, on the sad-
dle pendants in the shape of a fish around the
head of a ram from the Second Pazyryk Kurgan,
the fish is partitioned into sectors along the spine,
with gold circles inside (Руденко 1953, рис. 167).
The tails of the fantastic beasts from the tattoos
on the leg and back of a man from the Second
Pazyryk.
Among the early Saka sites which contain ob-
jects decorated with images of animals with such
elements as volutes and spirals, Arzhan 2 (7th с.
BC) can be mentioned. As such, the ornamenta-
tion of the handle and blade of the iron dagger
with gold plates represents a combination of im-
ages of animals, wings, and spirals. As a whole,
they form a distinctive decoration, an ornament.
Among the animal images in the decoration of the
dagger, tigers with characteristic stripes, imitat-
ing the colour pattern of the predator’s hair, and
stylised herbivores virtually composed of spiral
swirls can be mentioned.
The iron knife from Arzhan 2 with a ring top
with golden inserts features a handle decorated
with an ornament of V-shaped elongated curved
figures (Čugunov et al. 2010, taf. 10: 1; 11: 1; 41:
1) composed of highly stylized images of rams and
spirals. The handle decoration of the second knife
with golden inserts is composed of several double
(paired) spirals running clockwise (Čugunov et
al. 2010, taf. 10: 2; 11: 2; 41: 2).
In the mountains of the Chinese part of the
Mongolian Altay and in the Helan Mountains
(9th—8th с. BC), petroglyphs «in the deer stone
style» have been discovered. Among them, there
is an image of a horse with its thigh marked by
a counter-clockwise spiral (варенов, черемисин
2018, рис. 3: 6, 7), as well as a drawing of a deer
completed with two characteristic counter-clock-
wise spirals (варенов 2018a, рис. 5: 6, 7; 2018b,
рис. 2: 1). The image of a deer from the Halankou
Pass is decorated with «tiger» stripes, the thigh
and shoulder areas — with spirals, and a hump
is indicated on the back. On the deer stones, deer
torsoes apparently have never been decorated
with spirals around hips and shoulders and / or
with «tiger» stripes.
Images of tigers from Helan with their bod-
ies decorated with stripes and spirals bear a
close analogy to the predatory animals mauling
an ungulate animal depicted on a bronze mirror
from burial 1612 of the Guo State cemetery in
Shangcunling (варенов 2018a, рис. 8: 4; 2018b,
рис. 1: 4). They are dated to the second half of
the 9th — first half of the 8th с. BC, no later than
655 BC. Stylistic manner of ornamentation of the
shoulder and / or thigh with spirals or circles was
the preferred way of body decoration of preda-
tory animals for the Nanshangen type bronzes
(варенов 2018b, с. 36).
The mirror from grave 1612 of Shangcunling,
China (богданов 2006, табл. LXXVI: 5), 9th—
8th с. BC, is decorated with images of two preda-
tors of the Helan type, an ungulate animal, and a
bird. The figures of the predators are filled with
an ornament on the inside, including spiral coun-
ter-clockwise swirls, one located on the shoulder
and another on the thigh. E. S. Bogdanov finds
analogies to them in the Central Asia and in
the nomadic world. They are considered to be at
the bottom of the iconographic schemes adopted
by the nomads, along with the mirror from the
collection of the University of Tokyo (богданов
2006, с. 84).
The belt buckle with an image of a «walking»
wolf-like predator with counter-clockwise spirals
placed on its thigh and shoulder is known among
the finds from the Central Asian hinterlands,
5th—4th с. BC (богданов 2006, табл. XXXVII: 2).
A predator with twisted torso from burial 30 of
the Alagou cemetery (Xinjiang) has a spiral swirl
(counter-clockwise) on its shoulder (богданов
2006, табл. XXXIX: 3). A belt buckle with a maul-
ing scene from the Ningxia Region, Hong Kong,
contains an image of a feline predator with spiral-
shaped counter-clockwise swirls around its neck,
shoulder (perhaps to mark the mane) and thigh,
4th—3rd с. BC (богданов 2006, табл. XLIX: 3). In
the 4th с. BC Ningxia burial complexes, paired
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Образ у скіфів
belt plates are recorded with a mirrored image of
mauling scenes and a «walking» predator. In the
majority of these «wolf-like predators, the entire
surface of the body is covered with spiral-, drop- or
leaf-shaped dashed ornament» (богданов 2006,
с. 63).
In the tiger drawings from Daxifenggou (Daxi-
fogou) in Helan County of the Ningxia Region,
spirals on shoulders and thighs of the tigers are
pointing in different directions; these images cor-
relate with that of a deer from the Halankou (He-
lan Mountains) Pass (варенов 2018b, рис. 1: 1,
2).
On the Beya stela (Middle Yenisey), the 1st mil.
BC images of deer are covered with multi-direc-
tional spiral swirls all over their bodies. In par-
ticular, the upper ungulate animal is decorated
with counter-clockwise swirls on its thigh and
shoulder. It has been suggested that a cosmogony
myth is embodied on this stela (Дэвлет, Дэвлет
2011, с. 240; рис. 3: 14).
Ornamentation of animal images (volutes and
spiral swirls) is characteristic for the art monu-
ments of different regions of the Steppe in the
Scythian time. Specifically, one of the composi-
tions in the petroglyphs of Tepsey shows a bull
(?) and a goat with their torsoes decorated with
swirls, as well as anthropomorphic figures and a
bird. E. M. Miklashevich refers to them as out-
standing examples of the decorative style of the
Tagar Culture (Миклашевич 2007, с. 24; рис. 11).
On the torso of the bull, two counter-clockwise
swirls are traditionally shown — on its shoulder
and thigh, respectively. The goat has four swirls
on the body from its neck to thigh, also running
counter-clockwise. In the petroglyphs of Aldy-
Mozaga Mountain, which are dated to the period
from the Bronze Age to the 1st mil. AD, among the
animal figures — elk, deer, ram, boar, bird, fish,
etc., — a three-pointed socket is incused in the
shape of spiral clockwise swirls (Миклашевич
2007, с. 28; рис. 14).
Torcs with the ends in the shape of fantastic fe-
line predators from kurgan 2 of the Ulandryk IV
cemetery have two swirls pointing in different
directions on the neck and shoulder, possibly imi-
tating their coat, 4th—3rd с. BC (Кубарев 1987,
рис. 46: 2; с. 118).
The image of ungulates on the log-sarcophagus
from kurgan 2 of the Bashadar cemetery (6th с.
BC) shows clockwise swirls on the thigh and
shoulder, as well as on the neck, of the animal,
apparently, imitating the coat and hair on the
bottom side of the neck (Руденко 1960, рис. 21;
табл. XXX; XXXI). The image of a saiga, whose
shoulder and thigh are filled with volutes point-
ing in different directions, decorates the arc of
the saddle pommel, the Uvarov’s collection, Al-
tay (Королькова 2006, табл. 13: 7). Carving of a
deer on the log from kurgan 2 of the Tuekta cem-
etery (6th с. BC) has two large counter-clockwise
swirls on the thigh and shoulder of the animal
(Руденко 1960, рис. 154: ж; Королькова 2006,
табл. 2: 5).
The figure of an ungulate animal, representing
a fragment of the headdress, from the Pazyryk
Culture kurgan 4 of Tashanta II, is decorated
with clockwise spirals on the thigh and shoulder
(Кубарев 1987, табл. XCVI: 9).
Thus, for a long time — from the early Scythian
to Pazyryk, and across the vast area occupied by
various archaeological cultures of the Early Iron
Age, swirls and spirals were used in the decora-
tion of different surfaces, including rock images,
to schematically define / substantiate zoomorphic
images. This aspect was analysed in detail by
O. S. Sovetova in the context of the study of so-
called «Altay» style, and the «survivance» of spi-
rals and swirls to the Tagar-Tashtyk stage was
noted (Советова 2017, с. 143).
Colour marking of the head or significant de-
tails of the fantastic beast, as seen in the animal
images on the saddle cover from kurgan 11 of the
Berel cemetery, is probably characteristic of the
Pazyryk Culture sites. In particular, it was used
in tattooing (баркова, Панкова 2005).
On the left shoulder of the woman from Pazyryk
kurgan 2, 300 BC, there is an image of a fantas-
tic beast with the body of an ungulate and head
of a predatory bird. The creature is drawn hav-
ing large blackened horns; one of the horns has
prongs in the form of bird heads, while the bases
of the horns are similar to the one of the analysed
image, i. e., with semicircles. The legs are black-
ened. On the chest of this fantastic beast there
are blackened curved figures that bear analogies
to the decoration of the tattoos on other Pazyryk
mummies. The figure of an argali with twisted
torso on the humeral part of the woman’s right
arm is shown with a sharply bent horn with an-
nual rings and thick hair on the chest, the rear
limbs blackened and covered with a curvilinear
pattern (баркова, Панкова 2005, рис. 2: 2). The
tattooed drawings found on the mummy of the
woman from Pazyryk (kurgan 2) are close to the
images on other mummies from the same com-
plex and from the Ukok mounds, 4th—3rd с. BC
(баркова, Панкова 2005, с. 50).
A tattoo is also known from a man from the
Pazyryk kurgan 5, 250 BC, in the shape of feline
predator, with the front part of its figure covered
with blackened patterns forming spirals and
curvilinear triangles (баркова, Панкова 2005,
с. 51—52). A thick scruff is also emphasised. On
the humeral part of the man’s right arm there
is an image of a horse with twisted torso turned
out and the rear limbs thrown up; its thigh
and neck, legs and mane are filled with black-
ened curved figures (баркова, Панкова 2005,
рис. 5). On the right forearm of the person, an
onager, or a horse, and a predator with striped
coiled tail are depicted (баркова, Панкова
2005, рис. 6). The horse has a swirl on its neck.
On the right leg of the man, there are imag-
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Bazarbayeva, G. А., Jumabekova, G. S. On the Study of the Scenes of Torment in the Art of People...
es of two ungulates (баркова, Панкова 2005,
рис. 10) with blackened heads, horns and necks;
their shoulders and thighs are decorated with
swirls.
Images of animals on the mummy of a man
from kurgan 5 of Pazyryk are close to the tattoos
of the mummies from the burials of Ukok and
kurgan 2 of Pazyryk. They feature characteristic
«filling of the front part of their figures with cur-
vilinear patterns and decorative design of images
with spirals and triangles». There are similarities
in the scenes as well. Yet, in the drawings on the
body of the man from kurgan 5 of Pazyryk, there
are no specific fantastic characters typical for the
tattoos of the buried individuals in the Second
Pazyryk, Ak-Alakha and Verkh-Kaljin kurgans
(баркова, Панкова 2005, с. 54).
A complex composition with several figures is
unfurled on the right hand of the woman from
kurgan 5 of Pazyryk: two tigers and a leopard
attacking a deer and an elk (баркова, Панкова
2005, рис. 14). The plot is close to that from the
saddle cover from kurgan 11 of Berel. But in
the latter case, all animals are shown in profile,
whereas here the two predators are depicted as
viewed from above on the front half of their tor-
sos («the rear part is shown in profile, the front
one — en face, and the head — as if looking from
above»). The body of one of the predators is cov-
ered with dark spots, with «particularly empha-
sised spine». If we consider separately the right
and the left halves of the saddle, then, same as in
the case of the woman from kurgan 5 of Pazyryk,
each complex multi-figure composition appears
to be self-contained (баркова, Панкова 2005,
с. 56—57).
N. V. Polosmak noticed that the tattoos on the
bodies of the Pazyryk mummies show some simi-
lar images (the man from the Second Pazyryk
kurgan, the woman from mound 1 of the Ak-
Alakha 3 burial ground, the man from mound 3
of the Verkh-Kaljin II cemetery). «Fantastic and
real animals, and fishes depicted on the bodies
of the Pazyryk people represent a figurative lan-
guage of the Pazyryk Culture, its writing, as well
as the language of their ancestors» (Полосьмак
2000, с. 99). This sacred writing was intended to
convey information, probably of a mythological
nature.
The purpose of the blackening of certain parts
of the animal images was possibly to highlight, to
emphasize the highlighted elements. In the im-
ages of predators, that would be powerful paws
with claws, a long tail, jaws; in polymorphic crea-
tures — fast legs, as well as obviously contradict-
ing or not characteristic for ungulates (forming
the base of the image, such as horses, goats) head
with a beak, horns, wings, mane. They appear as
if attached separately, not being inherent to the
depicted creatures. This possibly points to essen-
tial features and those acquired, provided, com-
plementing the new fantastic guise.
The felt applique on the saddle cover from kur-
gan 2 of Pazyryk with the image of a griffin — a
fantastic creature — also contains colour marked
beaked snout, neck, and front limbs (Руденко
1953, табл. CIX: 2; Полосьмак, баркова 2005,
рис. 3.12). Specifically marked are the wing
(feathering of the lower edge), head, and left limbs
of the fantastic predator in scenes of mauling of
a mountain goat — decoration of the saddle cov-
erings from the First Pazyryk kurgan (Руденко
1953, табл. CX: 1; CXI) and others. On the felt
covering of the saddle from the First Pazyryk
kurgan, 300 BC, one of the images of the goat fea-
tures horns and almost the entire head highlight-
ed with blue felt, the second one — only horns;
griffins have highlighted ears, wings, and heads
(or parts of the heads) (Полосьмак, баркова
2005, рис. 3.5). It should be mentioned that the
ungulates in the mauling scenes from Pazyryk are
shown in a slightly different position — their legs
are bent-weak under the weight of the attacking
predator, and the leg is not extended forward as
in the image we analyse here.
The horns of the argali, bent in a spiral, as on
the saddle cover from kurgan 11 of the Berel cem-
etery, are known from the rock paintings of the
Bronze Age and early nomads, for example, in
Bayanjurek (southeast Kazakhstan) (Самашев
2012, рис. 25, 98, 107). Among the petroglyphs,
the image of a lying mountain goat in cluster II
(Shu-Ile interfluve) can be mentioned, whose
horns are shown by semicircles, as in the scene on
the saddle cover of the Berel kurgan 11; also, the
image of a predator with spiral clockwise swirls
on the shoulder and thigh, shown standing, with
clawed paws and a long tail (Рогожинский 2016,
рис. 295: 4, 7). A. E. Rogozhinskiy refers to the
style, which depicts the characters of the petro-
glyphs, as an applique style (Рогожинский 2016,
с. 542) and relates the emergence of the Late
Saka sanctuary in the centre of the Shu-Ile inter-
fluve with the migration of some nomadic groups
into the region from the areas of the Pazyryk and
Sagly Cultures of the Altay-Sayan region, and
probably from the north-western regions of China
not later than in the second half of the 3rd с. BC
(Рогожинский 2016, с. 548).
One can cite a number of scenes and images
of the Jetysu petroglyphs (South-Eastern Kaza-
khstan), where artistic techniques show analo-
gies with the characters from Berel. Specifically,
the scenes where the goat is shown with high
horns with emphasised ridges, known from Es-
hkiolmes, spirals are shown on the thigh and
shoulder of the goat in the hunting scene in Maly
Koitas; the image of a lying female deer also has
two counter-clockwise spirals (Maymak); there
is a scene in Eshkiolmes with a wolf chasing a
mountain goat whose horns are depicted in the
same way as in the analysed object from Berel
(бейсенов, Марьяшев 2014, фото 20; 38; 89а;
рис. 60).
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Образ у скіфів
Correspondence with the stylistic elements of
ungulate animals have been revealed in the ani-
mal style art of the Pazyryk Culture — in wood,
leather, and felt. Objects of ornamental art from
the elite mounds and ordinary burials of the Al-
tay Mountains — Tuekta, kurgan 1; Bashadar,
kurgan 2; Ak-Alakha 1, 3; Tashanta I and oth-
ers — demonstrate the closest match in the style
and iconography to the petroglyphs and charac-
ters of the Pazyryk Culture. Meanwhile, a rather
diverse range of zoomorphic characters from the
Berel mounds shows just minimal resemblance
in their style and repertoire with the petroglyphs
(Рогожинский 2016, с. 544).
In the Kazakhstan, among the characters of
the Bronze and Early Iron Age petroglyphs, im-
ages of animals with spirals on their torsoes are
known: on the thigh and shoulder of the deer
in sacrificial pose the symbols are shown point-
ing in different directions (Maymak) (бейсенов,
Марьяшев 2014, рис. 10); the spiral on the thigh
of the goat is directed counter-clockwise (Eshki-
olmes) (бейсенов, Марьяшев 2014, рис. 21); on
the thigh and shoulder of the goat one spiral is
pointing clockwise and another counter-clock-
wise (Aksu-Jabagyly — бейсенов, Марьяшев
2014, рис. 27). Images of ungulates — mountain
goats and argali with volutes not only on thigh
and shoulder, but all over the torso are present
in Aksu-Jabagyly, Cholpon-ata, Eshkiolmes,
Ust-Tuba (South Siberia) (бейсенов, Марьяшев
2014, табл. ХIV).
Images of spirals around the goat’s neck from the
described scene on the saddle resemble the twisted
horns of the argali in the petroglyphs, for example,
in the hunting scene from Eshkiolmes, where de-
picted are a deer, an argali, goats, and an archer
(бейсенов, Марьяшев 2014, рис. 8). The same way
horns are shown in the scene with argali (with a pic-
ture of a deer and an unfinished image of an archer
below) (Eshkiolmes); in the dog-hunting scene (Tek-
turmas); in the image of eagles and argali (Eshki-
olmes), and others (бейсенов, Марьяшев 2014,
рис. 17; 32; 65). A particular resemblance to the
horns is apparent from the division of these figures
on the goats’ necks into sectors. The connection of
the meaning of a spiral with the image of the horns
is indicated by the presence of the image of ram’s
head in profile on shoulder and thigh of the ungu-
late animals of other species (Королькова 2006,
табл. 14: 18, 19); it is also known from the Pazyryk-
period materials of the Berel mounds (Самашев
2011, рис. 323), kurgan 21 of Yustyd 12, and kur-
gan 4 of Ulandryk III (Королькова 2006, табл. 14:
18, 19). Perhaps it shows a combination in one crea-
ture of images of three herbivores — a horse, a goat
and a sheep, amalgamation of the characteristic
techniques of Pazyryk — dressing up a horse and
placing the head of an argali on the torso of another
herbivore.
Regarding the representation of predators, it
can be noted that the wolf on the saddle cover
from Berel features the same technique as that
of the image of the elk on the saddle cover from
the Second Pazyryk kurgan, decorated with drop-
shaped inserts, expressing longer hair on the
withers and neck (Руденко 1953, табл. CIX: 1).
This technique is known from the art of Central
Asia from the 4th с. BC onwards. E. S. Bogdanov
notes that the surface of the body of the majority
of the wolf-like predators was covered with spiral-
, drop-, or leaf-shaped ornament (богданов 2006,
с. 63; табл. XLIX). Furthermore, the artistic ren-
dering of the thigh in the form of thin «staples»
or «horseshoe» with end bulging is suggested by
the image of the elk in the scene of mauling by
an eagle griffin on the saddle cover from the First
Pazyryk kurgan (Полосьмак, баркова 2005,
рис. 3.6а), and by the image of a feline predator
with the head of an argali in its jaws from the
Central Asian — Ordos regions (богданов 2006,
табл. XLVI: 3). Felt saddle pendants in the shape
of a wolf (Bashadar, kurgan 2) are decorated with
spiral swirls on the nape, shoulders and thighs;
claws are also shown (богданов 2006, табл. CXXI:
1, 2). The ears are set back to the head closer than
on the saddle cover from Berel.
At the same time, the stylistic features of the
wolf on the Berel saddle cover are distinctively
different from the usual, canonical images of
wolf on the objects from Pazyryk and the Sibe-
rian collection of Peter the Great, as well as from
Jetysu. The latter style is characterized by spe-
cifically marked nose (upturned), snarling muz-
zle with marked teeth (Руденко 1960, рис. 143;
1962, с. 31—32; рис. 35—37). Features of a wolf
of the Scythian time in Altay have been defined
by V. D. Kubarev, including a large head with
long jaws, snarling muzzle, upturned wrinkled
upper lips, elongated ears, rounded at the base
and pointy at the ends, as well as with a swirl at
the base of the ear, and a straight tail (Кубарев
1987, с. 119). From the described saddle cover
from Berel, a more naturalistic representation
of the wolf appearance is seen. According to spe-
cialists, predators with the particular layout of
the ears and nose denote fantastic beasts asso-
ciated with the otherworld (Королькова 2015,
с. 176).
Among the materials from the monuments in
Kazakhstan, in particular, from the Jetysu, cer-
tain similarities to the image of the lion — the
rendition of the mane — can be found on the
Berkkara buckle, 4th—3rd с. BC (Berkkara burial
ground, Jambyl region) (бернштам 1947, рис. 5:
6). It represents an object bearing the image of a
lion with the open mouth, curled-back upper lip,
«the eyeball strongly projecting forward», the eye
with a high eyelid, the leaf-shaped ear set back to
the head. The mane of the predator is shown in
the form of three prominent strands, curled at the
ends. The clasper is made in the form of the head
and neck of a bird. A. N. Bernstam believed that
it carries elements of schematisation in the draw-
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Bazarbayeva, G. А., Jumabekova, G. S. On the Study of the Scenes of Torment in the Art of People...
ing of the mane, incompleteness in the image as a
whole (бернштам 1947, с. 10).
Therefore, the scene on the saddle cover repre-
sents a dressed horse mauled by predators.
It has been shown that the images of horned
horses, a horse-goat convey mythological ideas,
widespread amongst the nomads of Eurasia and
their neighbours. Myths featuring a horned horse
in the 1st mil. BC were especially common, «the
role of the warrior-chief-hero was of a particular
importance» at this time (Мец 2013, с. 101).
When analysing the worldview ideas of the
Pazyryk communities, A. S. Surazakov came to
conclusion that in the culture of the early nomads
of Altay horse represented the solar cycle, and
mountain goat was also of solar nature. According
to the researcher, the elite of the Pazyryk society
were transmitted to heavens (Суразаков 2011,
с. 262, 264—265). We hold on to the assumption
that the mythical creatures helped the elite reach
the heavens.
A certain semantic meaning of the horse-goat-
deer images was formed by the early Saka period.
For example, the deer stones show images of her-
bivores (a deer with elongated and bent legs and
a deer with beak-shaped snouts; goats, horses,
sheep) and predators, forming a single composi-
tion. M. E. Kilunovskaya and V. A. Semenov con-
cluded that horse, goat, sheep and deer are inter-
changeable animals, and that they symbolise the
sacrifice. The deer with beak-shaped snouts help
«bring prayers and sacrifices to the deity» and
«transfer the souls of the dead to the otherworld».
They appear as fantastic «bird—deer—horse»
creatures. Predators are the tool of the sacrifice
(Килуновская, Семенов 1999). Functional pur-
pose of the deer stones, installed over the area of
the mounds, is the transfer of the ritual-regulat-
ed values and sacrifices (Савинов 1994, с. 147).
Based on the transformation of the horse from
kurgan 36 of Berel with images of elk-griffin, as
well as mauling scenes with the participation of
elk, elk can also possibly be attributed to this
range of sacrificial herbivores.
Apparently, the role of the victim of the poly-
morphic animal on the saddle cover from the Ber-
el kurgan is also emphasized by the spiral-shaped
figures on its neck described above. Apart from
the role of transformation of the original appear-
ance of the horse, masking the mane, they might
have had a different meaning. The use of spiral-
shaped figures, swirls, and concentric circles in
the images of the animals could «mark sacrifi-
cial or consecrated real animals» (Дэвлет 2017,
с. 204).
E. F. Korolkova names several techniques to
create a fantastic beast: a change of the natural
colour; anatomical dysmorphology; and juncture
of parts of different animals (Королькова 2015,
с. 185). In our case, these may include unusual
colouring of the predators (the wolf and lion with
red wings), wings of the lions and, of course, the
ibex with wings. Duplication — the mauling
scene and fantastic beasts — indicates connection
of the composition to the otherworld, death as a
rebirth to life. «All hybrid monsters of the animal
style of the early Eurasian nomads are creatures
belonging to the otherworld» (Королькова 2015,
с. 186).
These include cauldrons with rims deco-
rated with winged horse-goats (Джумабекова,
базарбаева 2019, рис. 4: 2) and with legs in the
form of argali (fig. 5: 1), in the form of a griffin
swallowing the leg of an ungulate animal (fig. 5:
2), with the image of an antelope on the walls and
a predator on the edge of the cauldron (fig. 5: 3).
In such large vessels, meat of sacrificial animals
was cooked. According to the tradition, libation of
liquids from a zoomorphic vessel equalled to sac-
rifice. In the Hittite rituals, if the verb «drink»
was followed by the verb «to make a sacrifice», the
text reads as «drinking» the god, «to libate» or the
king was «watering god» (Ардзинба 1982, с. 63—
64). The vessel with zoomorphic design is related
to the sacrificial animal; in a wider sense — to
the victim.
Cauldrons from Jetysu and Kyrgyzstan, whose
legs are designed in the form of limbs of herbivores
(fig. 5: 4), probably imply that the vessel body, in
which the sacrificial (?) animal was cooked, was
associated with this animal. The same can be
said about the cauldron (fig. 5: 3), whose walls are
decorated with the image of antelope (fig. 5: 3b),
while the figure of a predator (fig. 5: 3a) stands on
the edge of the rim — in this case, the cauldron
with such decoration can be considered as an ex-
pression of sacrifice, same as the similar scenes
on other objects. The leg of the cauldron in the
form of a foot of an herbivore, being swallowed by
a fantastic predator (fig. 5: 2), quite transparent-
ly tells us about the symbolism of the cauldron in
the culture of the nomads, and the scene of maul-
ing in particular. The rim of the cauldron with
protomas of winged mountain goats completes
this series of symbolic objects. A. K. Akishev
(Акишев 1984) once spoke exhaustively about
the sacred person from the Issyk mound, whose
kulakh * (* headdress) was decorated with im-
ages of winged and horned horses.
Headdresses decorated with images of poly-
morphic creatures is a characteristic feature of
the Pazyryk Culture. The headdresses of the men
buried in kurgans of the Ukok Plateau demon-
strate the main characters of the bestiary of the
Pazyryk people — the bird, deer, and horse with
ibex horns (Полосьмак 2001, с. 65). Typically,
Pazyryk male helmets were decorated with wood-
en figures of animals — horses and deer with
ibex horns (Полосьмак 2001, с. 158). Thus, figu-
rines of horses on the headdresses had attached
horns of a mountain goat, the three-dimensional
figurines in the kurgans of Ulandryk combined
features of a horse and a sheep. The figurines of
sheep had long limbs of a horse or a deer. This
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Образ у скіфів
fig. 5. Metal cauldrons with zoomorphic decoration. Suburbs of Almaty (Kazakhstan). Incidental finds: 1 — 1893,
the State Hermitage Museum, КП № 1654/1; 2 — decoration of the cauldron leg, the Central State Museum of
the Republic of Kazakhstan, КП № 2280; 3 — a fragment of a cauldron, 1948, collections of the Central State Mu-
seum of the Republic of Kazakhstan; 4 — 1962, reposited in the Museum of Archaeology of the A. Kh. Margulan
Institute of Archaeology (1—3 — no scale)
117ISSN 2227-4952 (Print), ISSN 2708-6143 (Online). Археологія і давня історія України, 2021, вип. 4 (41)
Bazarbayeva, G. А., Jumabekova, G. S. On the Study of the Scenes of Torment in the Art of People...
design of the headdress corresponds to the ritual
transformation of the sacrificial horses, driven by
the sacred meaning of wild animals (черемисин
2008, с. 75).
One can also mention the torc from kurgan 1
of the Ak-Alakha 1 cemetery, where represented
are two predators mauling an herbivorous ani-
mal positioned between them, and the head of a
predator is also placed in the centre of the com-
position below (but in this case the same-species
predators are shown); the insert on a quiver from
kurgan 1 of Ak-Alakha 1, 308 BC, showing feline
predators and wild boars, etc. (богданов 2006,
табл. LVI: 2; LVII: 2).
Scenes of predators attacking ungulates or
mauling were a symbolic depiction of death and
subsequent rebirth (Полидович 2006, с. 371).
The rites of the so-called transitional type, the
Jetysu ritual objects, decorated with images of
animals, including winged horses-goats, are as-
sociated with the idea of life and death.
Concerning the connection of the arts of the
inhabitants of the Altay with Western Asia,
S. I. Rudenko noted: «In the arts of the Altay of
the later periods (5th с. BC), connection with the
arts of Western Asia is clearly shown in the im-
ages of animals» (Руденко 1968, с. 110). Essen-
tially, the lion clutched at the back of the bull
turning backwards with both its front limbs
raised up is characteristic of the relief from Per-
sepolis.
Amongst the body of Achaemenidian Persian
motifs, wings bent forward can also be men-
tioned, which are clearly seen on the saddle cover
from Berel (Артамонов 1973, с. 222—226), as
well as extended forward leg of the herbivore and
turned back head of the ungulate animal. «Some
have wings similar in shape to one of the Assyr-
ian griffins, while others have the ends of the wing
feathers directed forward, which was typical for
Persian images» (Руденко 1961, с. 49).
conclusions. In science, mounds with perma-
frost have been known for more than 150 years.
During this time, the number of sources has
grown significantly. However, owing to the re-
storers, archaeologists have obtained fundamen-
tally new data on the culture of the Early Iron
Age population of the east of Eurasia, in particu-
lar, the Kazakh Altay.
Scenes of mauling, known in various me-
dia, such as metal, wood, bone, leather, tattoos,
rock surfaces, and found in archaeological sites
throughout the steppe belt of Eurasia, reflect
the eternal principle of the struggle of opposites,
symbolise the idea of rebirth through destruction,
mauling, chase, and continue to raise new issues
for researchers.
For example, there is a potential for further
study of the mauling scene in the context of im-
age analysis of the horse decoration structure of
both the Berel kurgan 11 and the entire burial
ground.
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rovozzrencheskoi modeli mira plemen pazyrykskoi kultury.
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birsk: IAEt SO RAN, s. 261-268.
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G. А. Bazarbayeva, G. S. Jumabekova
ON thE StuDY Of thE ScENES
Of tORmENt iN thE ARt
Of pEOplE Of pAZYRYK cultuRE
BASED ON mAtERiAlS fROm
KuRgAN 11 Of thE BEREl
gRAVEYARD iN thE KAZAKh AltAY
In this paper, we present the analysis of the scene
from a saddle cover found in kurgan 11 of Berel (4th—
3rd centuries BC). This material was first published in
the Povolzhskaya Arkheologiya journal (Алтынбеков и
др. 2019; Джумабекова, базарбаева 2019). Here, we
provide new data based on the analysis of the informa-
tive elements of the animal images and broaden the
range of the analogies.
In the archeology of the Early Iron Age of the east-
ern part of Eurasia, materials from permafrost mounds
are of great importance. They allow to clarify in many
respects various elements of material culture of the
population living in the region. The state of preserva-
tion of the contents of the tomb can be compared with
ethnographic exhibits. In 1998—1999 international
expedition of the Institute of Archeology. A. H. Margu-
lan under the leadership of Z. Samashev studied the
mound 11 cemetery Berel (4—3 centuries BC) in the
Kazakh Altai, which preserved the lens of permafrost.
The peculiarity of the excavations was that the con-
tents of the burial chamber were removed in separate
blocks for further study in the laboratory. Cabinet re-
search was conducted in the winter of 2000. Since then,
part of the material was stored in a freezer in the re-
search and restoration laboratory «Island of Crimea».
Under the leadership of K. Altynbekov, organic arti-
facts were gradually restored and preserved. A recent
discovery by laboratory staff was the discovery of the
remains of a saddle cover embroidered with a scene of
torture by four ungulate predators. This material was
first published in 2019 in the journal «Volga Archeol-
ogy». This article provides materials that significantly
complement the above analysis. The range of analogies
has been expanded. In the interpretation of certain
zoomorphic images, emphasis is placed on ornamental
elements. In particular, stylized images of spiral curls
found in materials from monuments of Central Asia: in
the Altai, Tuva, Ordos were analyzed in detail.
The analyzed plot on the saddle cover from Berel is
close, but not identical to the drawings that have sur-
vived as tattoos on the buried from Pazyryk, Ak-Alahi,
Verkh-Kaldzhin. The reception in the form of blacken-
120 ISSN 2227-4952 (Print), ISSN 2708-6143 (Online). Археологія і давня історія України, 2021, вип. 4 (41)
Образ у скіфів
ing of certain content elements in the transfer of images
of animals, both real and fantastic, attracts attention.
One of the favorite plots in the art of the Pazyriks is the
scene of torment, which conveys the traditional idea of
the cycle of life and death, rebirth through death.
Keywords: Kazakh Altay, Early Iron Age, art.
Г. А. Базарбаєва, Г. с. Джумабекова
до ВиВЧеннЯ сЦен терЗАннЯ
В МистеЦтВі носіїВ пАЗириксь-
кої кУльтУри: ЗА МАтеріАлАМи
Берелського кУргАнУ 11
іУ кАЗАхськоМУ АлтАї
в археології раннього залізного віку східної час-
тини євразії велике значення мають матеріали з
курганів із мерзлотою. Саме вони дозволяють багато
в чому прояснити різноманітні елементи матеріаль-
ної культури населення, що мешкало у регіоні. Стан
збереженості вмісту внутрішньомогильної споруди
можна порівняти з етнографічними експонатами.
У 1998—1999 рр. міжнародна експедиція Інститу-
ту археології ім. А. Х. Маргулана під керівництвом
з. Самашева вивчала курган 11 могильника берел
(IV—III ст. до н. е.) у Казахському Алтаї, в якому
збереглася лінза мерзлоти. Особливість розкопок по-
лягала в тому, що вміст поховальної камери виймав-
ся окремими блоками з метою подальшого вивчен-
ня у лабораторних умовах. Кабінетні дослідження
проводилися взимку 2000 р. з того часу частина ма-
теріалу зберігалася у морозильній установці у нау-
ково-реставраційній лабораторії «Острів Крим». Під
керівництвом К. Алтинбекова артефакти з органіки
поступово реставрувались та консервувалися. Нещо-
давнім відкриттям співробітників лабораторії стало
виявлення залишків сідельного покриття з вишив-
кою, що містить сцену терзання чотирма хижаками
копитної тварини. вперше цей матеріал було опуб-
ліковано у 2019 р. у журналі «Поволзька археоло-
гія». У цій статті наводяться матеріали, що суттєво
доповнюють викладений раніше аналіз. Розширено
коло аналогій. У трактуванні тих чи інших зоомор-
фних образів, зроблено акценти на орнаменталь-
них елементах. зокрема, детально проаналізовано
стилізовані зображення спіралеподібних завитків,
що зустрічаються у матеріалах з пам’ятників Цент-
ральної Азії: на Алтаї, Туві, Ордосі.
Аналізований сюжет на сідельному покритті з
берела близький, але не ідентичний малюнкам, що
збереглися як татуювання на похованих з Пазирика,
Ак-Алахі, верх-Кальджіна. Привертає увагу при-
йом у вигляді зачорніння тих чи інших змістовних
елементів у передачі зображень тварин, як реаль-
них, так і фантастичних. Один з улюблених сюжетів
у мистецтві пазирикців — сцена терзання, передає
традиційну для досліджуваної епохи ідею кругово-
роту життя і смерті, відродження через смерть.
ключові слова: Казахський Алтай, ранній за-
лізний вік, мистецтво.
Одержано 18.05.2021
БАЗАрБАЄВА галія Аппазівна, кандидат істо-
ричних наук, провідний науковий співробітник,
Інститут археології ім. А. Х. Маргулана, Алмати,
Казахстан.
BAZARBAYEVA galiya A., Candidate of Historical
Sciences, Chief Research Fellow, A. Kh. Margulan
Institute of Archaeology, Almaty, Kazakhstan.
ORCID: 0000-0003-4755-9007, e-mail:
galiya2002@gmail.com.
джУМАБекоВА гульнара саїнівна, кандидат
історичних наук, провідний науковий співробітник,
Інститут археології ім. А. Х. Маргулана, Алмати,
Казахстан.
JumABEKOVA gulnara S., Candidate of Historical
Sciences, Chief Research Fellow, A. Kh. Margulan
Institute of Archaeology, Almaty, Kazakhstan.
ORCID: 0000-0003-2145-2615, e-mail:gdzhuma@mail.ru.
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