Libmonster ID: IN-1466

ON THE SEMANTICS OF ORNITHOMORPHIC ANIMAL-STYLE CHARACTERS IN THE RITUAL PARAPHERNALIA OF PAZYRYK MOUNDS*

The article is devoted to studying the content of plots and images of animal-style art of the Pazyryk culture. The approach to the analysis of semantics is based on the understanding of visual art as a special language that expresses the ideas of its creators about the universe. The fantastic griffin is the most common character in the animal art of the Pazyryk culture, and this fact serves as the main basis for correlating the Pazyryk people with the" gold-guarding vultures " of Aristaeus and Herodotus. The interpretation of the semantics of the griffin image proposed in the article takes into account the context of ensembles of Pazyryk ritual attributes: the plot of tormenting horses by fantastic griffins is embodied in the decoration of sacrificial horses accompanying human burials. The same mythologem of good torment is reflected in the descriptions of Scythia by ancient historians and geographers.

The realistic image of the bird, the prototype of which is considered in the article inhabitant of the high-altitude steppes of Altai crane-belladonna (Anthropoides virgo), Pazyryk residents placed on the pommels of ceremonial headdresses. Obviously, this is also determined by the mythological representations of the native speakers of the Pazyryk culture. The article suggests reading the semantics of the crane image and the symbolism of headdresses with its images in the light of linguistic materials of the Indo-European and Uralic language families.

Keywords: animal style, griffin, crane, ritual attributes, semantics of plots and images.

Introduction

Images of real and fantastic birds are typical of all the most ancient mythologies of the Old and New World ("the bird that creates peace", the mythical eagle Anzud in Sumer, Garuda in India, Senmurv / Simurgh in Iran, phoenix in China, etc.). They are embodied in both visual art and narrative mythology, for example,"cycles " of the raven in Paleoasiates or the eagle in Indo-Europeans, studied by K. Levi-Strauss, E. M. Meletinsky, Vyach. Vs. Ivanov and V. N. Toporov.

Zoomorphic images of animal-style art are associated with the mythological representations of native speakers of the Pazyryk culture. In my opinion, the interpretation of vivid, clearly revealed plots of images embodied in ensembles of ritual attributes that accompanied the buried Pazyryk people in a large series of burials may be the most convincing. The Pazyryk griffin, the most common animal-style art character, is now living a new life as a coat of arms, the state symbol of the Altai Republic. At the same time, the semantics of the image, the character of a fantastic character that brings good or harm to a person (both in the past and in the present), are the subject of discussion. The article offers the author's version of the interpretation of the iconography and semantics of the image of the fantastic griffin in the light of broad comparative materials (from the paintings of Chatal-Gyuk to the mythology of the Turkic-speaking peoples of Eurasia). Another equally vivid ornithomorphic character of Pazyryk mythology is the belladonna crane, whose realistic image is embodied in the form of funerary headdresses of the Pazyryk people of the Southern Altai and in the wooden pommels of such headdresses. Apart from these items of clothing and funeral rites, the crane is not represented in any other Pazyryk artefacts. Results of the proposal-

* This work was supported by RGNF, project 08-01-00281a and NSH-1648.2008.6.

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In my opinion, a well-developed semantic reconstruction that takes this circumstance into account and is based on linguistic data about the name of the crane in ancient languages can be used in modeling historical and ethno-cultural processes associated with the Pazyryk culture.

Pommels of Pazyryk headdresses

Undamaged headdresses of representatives of the "middle nobility" and the ordinary population of the Pazyryk culture first became known after the excavations of N. V. Polosmak and V. I. Molodin on the Ukok plateau, thanks to the preservation of organic materials from which these objects are made in the permafrost. The Pazyryk burial complexes excavated by V. D. Kubarev in the upper reaches of the Chui River, in which the headdresses themselves are preserved fragmentally, contain a statistically representative series of artifacts related to headdresses (Kubarev, 1981,19876,1991,1992). The purpose of the items included in the ensemble that makes up these complex headdresses and is mandatory for the funeral vestments of Pazyryk residents of various social ranks (pommels, tiaras, egrets, three-dimensional wooden figures clad with gold foil), in the light of the discoveries on Ukok, is beyond doubt.

The pictorial series of Pazyryk headdresses is strictly structured. The pommels of the headdresses were wooden figures clad with gold foil. Realistic images of birds of prey, such as "eagles" (Kubarev and Cheremisin, 1984), and fantastic hoofed animals, such as "horses" with horns on their heads (Kubarev, 1987a, p.101, Fig. 39; 1981; Phenomenon..., 2000, p. 106, fig. 127], as well as goby [Polos'mak, 1999, p. 149, Table 1,2].

Finds from undeveloped burials in Ukok for the first time allowed us to see the image of a bird in the very form of headdresses. In the male burial of the Ak-Alakha I burial ground in situ, there was a fully preserved felt headdress with a wooden pommel in the form of a stylized bird's head. Fragments from the female burial site of the same mound were used to reconstruct a similar one, but it was not preserved, probably due to the special composition of the female hairstyle (wig?). headdress with the same bird-shaped wooden pommel remaining intact and the same gold appliques [Polos'mak, 1994, p. 29, Fig. 19; pp. 40-43, figs. 34-38]. A wooden pommel in the form of a bird's head from the male burial site of the Olon Kurin-Gol burial ground in the Mongolian Altai is identical to the Ukok ones (Molodin, 2007, pp. 48-49, Fig. 9).

In the Verkh-Kaldzhin II burial ground, felt headdresses were found in two male burials, which were identical in shape to the headdresses from Ak-Alakha I (Molodin, 2000, pp. 104-105, fig. 125). Both the wooden pommels from Ak-Alakha I and the felt headdresses from Verh-Kaldzhin II correspond to the shape of a bird's head with a beak. As N. V. Polosmak rightly points out, the shape of all headdresses of the Pazyryk people of the Southeastern Altai is more or less related to the image of the bird [1999, p. 150; 2001, p.306, Tables XIX, a-d]. Wooden pommels of men's headdresses from ordinary mounds of Yustyd and Ulandryk in the sources of the Chui River (Kubarev, 1987a, Table LVIII, 14; 1991, Table XXV, 5; Table XXVII, 37) are similar to the Ukok samples.

The shape of the Pazyryk headdresses under consideration reflects the features of the bird, which is still widely represented in the animal world of the Southern Altai, especially in Ukok. In my opinion, the shape of the wooden pommels of the headdresses of men and women from mound 1 of Ak-Alakhi I, as well as men's felt headdresses from mound 1 and 3 of the Verh-Kaldzhin II burial ground is most important

1. Pazyryk headdresses (1-3, 5, 6) and the image of a belladonna crane (4). 1 - 3 - Ak-Alakha I, mound 1 (according to [Polos'mak, 1994]); 5-Verkh-Kaldzhin II, mound 3 (according to: [Molodin, 2000]); 6-Verkh-Kaldzhin II, mound 1 (according to [Molodin, 2000; Polos'mak, 1994]).

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1). The headdress in the form of a bird, three-dimensional figures of birds on the pommels of headdresses, plaques with the image of birds sewn on the headdress, a diadem with the image of waterfowl (Kubarev and Cheremisin, 1984) naturally reflect the combination of the image of a bird as a symbol of the upper world, an aerial sphere, with the" top " of a person's vestment.

As a marker of the upper zone of the universe, the bird is a universal symbol (Ivanov and Toporov, 19886). In Scythian sacred paraphernalia, images of birds are crowned with the pommels of ritual pillars [Perevodchikova and Rayevsky, 1981]. The sphere of mythological significance of the eagle in the Indo-European tradition is associated with the top of the World Tree; the eagle is the most culturally important bird [Gamkrelidze and Ivanov, 1984, p. 538; Sternberg, 1925; et al.]. The image of the eagle is an element of a widespread dynastic emblem. The so-called eagle crowns of the Sughd and Khorezm dynasties are known. The eagle was an imperial symbol of many cultures and states (see [Ivanov and Toporov, 1988a; Kuzmina and Sarianidi, 1982; Akishev, 1984; et al.]).

The study should use linguistic data about the crane's name in different languages. According to convincing reconstructions, the common Indo-European word for crane probably has an onomatopoeic nature, like other derivatives of the base *k'er- [Gamkrelidze and Ivanov, 1984, p. 540], which finds a number of analogies in the languages of the peoples of Siberia, including in ethnonyms associated with the name of the crane (Kappa - "crane people" - an ethnonym of Selkups) [Pelikh, 1980, 1981]. Among the Selkups, the word "karra" referred to cranes, as well as shamanic images in the form of birds.

The monogamous nature of cranes, their impressive mating dances, as well as the peculiarities of their habitat in the high-altitude steppes of the Altai, in particular, the seasonality of migrations, in my opinion, must have been reflected in the mythology of the Pazyryk people. It should be noted that in the wooden carvings, in addition to the considered pommels of headdresses, other evidence of any role of the crane in the art and representations of the Pazyryk people has not yet been identified. Turning to the linguistic and subject analogies, you can see that the word "karkara" in Kazakhs means both a beautiful crane, and a heron, and a sultan made of high feathers, and a saukele with a similar sultan, and an egret - the pommels of such a headdress, as well as a man's headdress with a sultan made of feathers. The very word "aigrette", which is used to refer to specific pommels of headdresses, comes from the French" aigrette " - the word for a heron, the crest on the head of which gave the name to this part of the headdress.

In the modern Kazakh language, "karkara" means a heron, and in dialects and folklore-a sultan made of feathers [Karmysheva, 1989, p. 32]. B. Kh. Karmysheva sees the origins of the tradition of designating the details of a headdress and a bird in one word in the cultures of the Saka circle. In the light of the latest discoveries in Ukok, the idea of the ancient roots of this tradition seems well founded. In my opinion, the semantic connection between the names of the top and specific pommels of the headdress and the root of the word denoting the crane can be taken into account when interpreting the semantics of Pazyryk headdresses. We can offer an explanation of why only the pommels of Pazyryk headdresses were designed in the form of a crane's head (there are no similar stylized or realistic images of a crane in the Pazyryk bestiary). The considered materials are of undoubted interest in connection with the development by Academician V. I. Molodin of the concept of two-component Pazyryk culture (one of the components is Samoyedic) [2003].

It is impossible not to pay attention to the assumption that the skulls (originally, obviously, heads) of the belladonna crane found in the Okunev burials most likely also served as pommels of funeral headdresses or masks (Chernovaya VIII, Third Log, Lebyazhye, etc.) [Pyatkin, 1997; Vadetskaya, 1983, 1993]. In this regard, it is appropriate to recall the epithet name of the crane in Russian, preserved in the ornithological classification - crowned. In the context of the productive idea of the genetic connection between Okunev art and the animal style of the early nomads of Eurasia [Pyatkin, 1987; Sher, 1987, 1989, 1998; Sher, 1992], the above interpretations can be used for further ethnocultural and historical reconstructions. The fact that the crane as a figure of fine art is no longer represented in Pazyryk wooden carvings can be hypothetically interpreted as follows: the pommels and the very outlines of the headdress as a whole are directly related to the ethnonym of the Pazyryk people; the shape of the headdress, repeating the outline of the bird's head, was enough for visualization as a tribal or clan totemic symbol of the crane. Could the Pazyryk people or only the population of the Southern Altai be called the "crane tribe"? Perhaps the answer will be provided by further research, new excavations, as well as studying the migration routes of these wonderful birds, attracting comparative linguistic and ethnographic materials.

Horses and griffins of the Pazyryk mounds of Ukok

In the study of the semantics of subjects and images of ancient art, it seems productive to use the concept of "concept" (this definition is used in cognitive linguistics when it comes to otra-

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meaning that ancient art implements not a" photographic " but a conceptual principle (see [Sher, 1980, p. 41-42]). For example, the inverted rear part of the body and the hind limbs thrown over the back, which are characteristic of Pazyryk images of animals, can be explained by the desire to show the hind leg of the animal "in the position that we can observe in rams or goats when they scratch their head with it" [Rudenko, 1953, p. 190, Tables L, 4; LI, 3], and it can be assumed "that this convulsive bending of the victim's body served as a symbol of the animal's defeat or death agony" (Rudenko, 1952, pp. 174-175). Apparently, it is the latter meaning that is embedded in the images of ungulates on all Pazyryk tattoos, and the "fantastic ungulates" with a beak-shaped face are presented exclusively in this position. The correspondence between certain poses of deer shown on the attributes of male or female headdresses of Pazyryk residents and the types of these headdresses is also recorded, which is another evidence of the semantic significance of the animal pose in the art of animal style.

The established structure of ensembles of objects that served as attributes of the Pazyryk funeral ritual is important (Cheremisin, 2006). The conjugation of images of griffins, or, in C, is quite obvious. Rudenko, " Altai vultures "(the most common images of the head of a fantastic eared bird), with the equipment of horses accompanying Pazyryk burials. For example, wooden gold-clad images of griffins with an attached three-dimensional head, which served as head plates or suspensions to belts, were found in the equipment of horses in the Kuturguntas mound [Polos'mak, 1994, p. 51, fig. 54-66; p. 87, fig. 108; 2001, p. 105, fig. 81, 82]. In mound 1 of the Ak-Alakha III burial ground, five of the six horses buried with a man have images of a griffin placed on the bridle, in particular, horse 2 has a badge-suspension to the bridle belts and on the psalms [Polos'mak, 2001, p. 78, Fig. 54]; other horses have suspensions interpreted differently, but on all headdresses, the image of the griffin is presented in the form of a head badge or a badge with a sculptured head on a bridge strap, or on the endings of psalms [Ibid., pp. 80-84, Fig. 55-61; Phenomenon..., 2000, pp. 62-63, fig. 38, 39, 41 - 45]. Since the horse placed last in the burial chamber has only one psalm preserved, it can be assumed that the image of the griffin was imprinted on all sets of equipment of the riding horses of this mound. Similarly, the bridle of horses from the elite Pazyryk complexes-Pazyryk I, koni 1, 9 [Gryaznov, 1950, p. 24, 37, Fig. 6, 15]. Psalms with the image of a griffin were found in the Berel burial ground (Samashev et al., 2000: 43-44), as well as in the ordinary Pazyryk burial grounds of Yustyd, Ulandryk, and Tashantaidr. [Kubarev, 1987a, 1991, 1992] (Fig.

The same tradition is demonstrated by the materials of ordinary Pazyryk burials in the upper Chui and Ukok rivers [Kubarev, 1987a, p. 31-38; 1991, p. 43, Fig. 8, 6; Table LI, 2; 1992, p. 31-32, Fig. 9, 3, 4]. The image of a fantastic griffin and boar's fangs are two of the most frequently encountered motifs or plots of zoomorphic images on bridle belts and breast belts in ordinary monuments of the Pazyryk culture [Cheremisin, 2007, pp. 84-85]. In addition, in the Ak-Alakha burial ground, on large saddle pendants, applied felt images of fantastic vultures are combined with the image of fish (Polos'mak, 1992; 1994, p. 46, Fig.43,45).

Returning to the tradition of placing images of the griffin on the attributes of horse decoration, it should be noted that the decorations of horse harness from ordinary Pazyryk burials show the same patterns of contrasting predators and ungulates as in sets from large Pazyryk and medium Ak-Alakha mounds. Thus, the image of a griffin is present in the structure of all sets of bridle and horse head ornaments from the Ak-Alakha mounds (Polos'mak, 1994, pp. 50-54). Wooden plaques depicting animals with bodies made in the technique of flat carving and with a three-dimensional head from mound 11 of the Berel burial ground are very close to the Pazyryk and Ak-Alakha finds [Samashev and Mylnikov, 2004, pp. 156-160, figs. 259-271]. Such plots as the head of a deer in the beak of a griffin and the head of a ram in the mouth of a horned wolf in Pazyryk (Rudenko, 1953, Tables XXXVII, LXXXIII) and the head of a deer in the beak of a griffin in Bereli (Samashev et al., 2000, pp. 34, 38, 44) show similarities at compositional and semantic levels.

In our interpretation of the semantics of the image of the Pazyryk griffin, in addition to the content of the plots with its participation and the actual iconography of this fantastic creature, we take into account the reliably recorded connection of its images with objects of horse decoration. As noted by F. R. Balonov, in the Pazyryk culture, "the image of the griffin is contrasted with the image of the horse"; it plays the role of not only a "heavenly bird that torments the horse", but also a heavenly horse-bird [1991, p.114]. In my opinion, such a combination should also be reflected in the expression "crossing vultures with horses", which goes back to antiquity, in which the book tradition understood "an unclear connection between vultures and horses (here and further my italics - D. Ch.). In particular, it is not clear for what purpose vultures attract horses to themselves and what makes them quarrel with each other... In a whole series of explanations for this combination in ancient descriptions, the enmity of vultures and horses is indicated: "Vultures are a special type of animal found on the Hyperborean mountains. They look like lions, but they have wings-

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2. Images of a gryphon in the equipment of Pazyryk horses. 1, 2, 4, 5, 7 - 9,13 , 15, 16, 18 - Ak-Alakha I, mound 1 (by: [The Witcher, 1994]); 3, 6, 10 - 12 - Berel, mound 11 (from [Samashev et al., 2000]) 14-Kuturguntas (according to [Polosmak, 1994]); 17-Tuekta I (according to [Rudenko, 1960]).

mi and head are like eagles, very hostile to horses <...> they are lions in every part of their body; they have wings and a face like eagles; they are extremely hostile to horses. When they see a person, they tear him apart" [Tigressa..., 2002, p. 63].

I see the implication of the plot of tormenting a horse by a griffin in the way vultures and horses are" crossed " in the archaeological materials of the Pazyryk culture (and in accordance with the descriptions of ancient authors). The plot of tormenting a horse by a griffin was modeled by images on the ritual attributes of horse decoration; it was actualized by the inclusion of real sacrificial horses, which fully corresponded to the context of the funeral ritual, the scenario of which was determined by the idea of death-rebirth and assumed the sacrifice of horses (Cheremisin, 2005). The predominance of the image of a fantastic eared bird (gryphon) in the ceremonial and ritual decoration of horses accompanying human burials (ensembles of images of gryphons on psalms and bridle ornaments in Pazyryk, Ak-Alakh, Ust-Kaldzhin, Kuturguntas, Ulandryk and other Pazyryk monuments), in my opinion, should be considered as a reflection of the same mythological complex, about which the human burial site is located. which was reported by all ancient historians and geographers (Herodotus, Ctesias, Aelian, Solinus, Pomponius Mela, etc.), who left descriptions of terrible vultures that tear "everyone they see", "especially hostile to horses".

The role of griffins-the main" tormentors " of ungulates, for example, deer on the Chertomlytskaya vase or horses on the pectoral from Tolstoy Mogila (Kuzmina, 1976; Rayevsky, 1978) - is reflected in Greco-Scythian art: as guardians of gold griffins are included in the Chthonic class

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For example, in a certain description of the ancient tradition, vultures appear as monsters "ferocious and reaching the point of extreme rage ... who tear to pieces everyone they see" (cit. by: [Bongard-Levin, Grantovsky, 1983, p. 49]). The dominance of the image of a fantastic bird of prey (griffin) in the ensemble of horse decoration, from my point of view, should be considered an implication of the plot of torment, which is most clearly expressed in horse masks from the graves of the Pazyryk elite. In the structure of images on the items of equipment of the sacrificial horse, the plot of the opposition of a predator and a hoofed animal is encoded at different levels (Cheremisin, 2005).

As one of the variants of the plot presentation, according to the present interpretation, we understand the opposition of the griffin as the prevailing image, coupled with images on objects of horse decoration, to the real sacrificial horse. The same juxtaposition of characters (predators and ungulates) is also encoded in the structure of other elements of the image series associated with the horse, which can be interpreted as an expression of the torment plot (plots on ceremonial horse head masks, images on saddle tires and large saddle suspensions). Actualization of the most obvious expressions of the main cosmogonic myth in the funeral ritual is quite natural.

In terms of reconstructing the semantics of the griffin image, the exceptional role of carrion-eating birds (vultures) in the ancient Iranian eschatological concept and the related Zoroastrian funeral rites is extremely important. The Avesta prescribed exposing the bodies of the dead to be devoured by dogs and vultures; this ritual practice is also recorded by ancient historians-Herodotus, Strabo, and Ctesias (see [Rapoport, 1971]). The burial rite, which required the display of bodies to special burial animals, including scavenger birds, is attested among sedentary Iranian tribes-Sogdians, Bactrians, as well as Kaspians, Hyrcans, i.e. the population close to the circle of Saks and Massagets, among which, according to researchers, the Zoroastrian funeral rites developed [Ibid., pp. 23-27, 122]. Probably the most ancient reflection of this practice is the images of huge vultures tormenting headless human bodies on the walls of the shrines of Chatal-Gyuk (horizons VII-2, VII-21, VIII-8) [Mellaart, 1971, pp. 93-96, fig. 45 - 47]. According to the conclusion of J. R. R. Tolkien According to Mellaart, based on the study of bone remains, the population of Chatal-Gyuk buried the dead after the separation of soft tissues, which were "pecked by vultures" [1982, p. 87, 92].

Among the peoples of Central Asia, the funerary ritual, similar to the rites of the Eastern Iranian tribes, apparently spread under the influence of Lamaism. For example, the Tuvans believed that the vulture (mac bird, literally, "bald") descends from the sky to peck at the bodies of the dead; this was considered the best destination for the deceased [Potapov, 1969, p. 330]. "In Tibet, the corpse of the deceased was dismembered into pieces, thrown to vultures sitting there, and they ate them" [Zhukovskaya, 1977, p. 123]. The semantic series that unites real carnivorous animals - "burrowers" (wolves, dogs) and scavenger birds, which is relevant for natural communities of the steppe zone, is reflected in the eschatological ideas and mythology of the population of Central Asia.

The image of a griffin on the tip of a grivna from mound 19 of the Yustyd XII burial ground shows a combination of a wolf and a fantastic bird of prey in one syncretic image (Kubarev, 1979, p. 81, Fig. 27; 1991, Table XLV, 20]. The underlying reasons for synthesizing the characteristics of these animals in the iconography of a fantastic character, combining zoomorphic images with each other, and combining these characters with the same classes of artifacts are seen in the features of the natural environment of the steppe zone; it was the most important factor in the cultural genesis of populations of ancient nomads, whose economic and cultural type is based on nomadic and semi-nomadic cattle breeding, and metaphysical development of mythological consciousness.

Biologists have noted that with wolves, pack predators and the main enemies of pastoral peoples, " specialized scavengers from diurnal birds of prey appear in steppes and deserts; they are especially numerous in the mountains of the arid zone. It is in the south of the wolf's range that the remains of its victims are closely associated with many... bird species: golden eagle, steppe eagle, burial ground eagle, white-tailed eagle, bearded vulture. If there is a lack of other forages, the provision of these species with food depends on the predation of the wolf " [Volk..., 1985, p. 371]. The remains of wolf prey are usually used by specialized necrophages-vultures, especially the white-headed vulture, vulture, bearded lamb, and black kite. It is also noted that " birds are scavengers... Along with the wolf, they are part of groups that move behind herds of saiga antelopes. The number of these birds depends on the number of corpses"; it is large scavengers (vultures) that make wolves hunt more than other commensals, and "wolves are forced to kill ungulates 2 - 3 times more often than they need to" [Ibid., pp. 371-372]. In other words, there is a clear dependence of the existence of a wide range of scavenger birds on the predatory activity of the wolf, "the joint existence and strong trophic connections of" wolves and vultures "determined their dependence on each other, mutual adaptations in behavioral reactions" [Ibid., pp. 372-373].

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The nature of real prototypes of Pazyryk art characters (including large birds of prey-scavengers) probably served as the basis for the formation of mythological representations that led to the semantic identity of predators (wolves, representatives of the cat family) and fantastic birds (vultures), which was embodied in syncretic images, as well as in the tradition of placing these images in certain classes artifacts. The formation of the image of the Pazyryk "vulture" was probably influenced by samples of Near Asian art, in particular, images of Achaemenid griffins, known in the Pazyryk mounds.

In the mythology of many Turkic peoples, the image of the fantastic winged dog Kumai, the lord of birds of prey, the hound, from which no animal of any of the elements can escape, is known. The name Kumai is reliably etymologized from the Ancient Iranian and Middle Persian huma/humai. This name meant carrion-eating birds-vultures or vultures; in the descriptions, it was emphasized that the mythical bird Homai eats bones [Shapka, 1972, S. 212; Henning, 1947, p. 42]. It is significant that the name Kumai as the name of a vulture species also exists in the modern ornithological classification, which thus preserves the ancient mythologized taxonomy (Kumai = snow vulture = Gyphs fulvus Himalayensis Hume) [Birds of the USSR, 1968; p. 254]; eating bones is one of the dietary features of representatives of this species.

In the Kyrgyz language, the word "kumai"means a bird species ("snow vulture"), as well as a winged dog born from a vulture (Yudakhin, 1965, p. 444). Snow vulture is a book name; kumai, or gummai , is the Kyrgyz name for this bird species in Turkestan, China, Turkmenistan, Tibet, and the Himalayas. "The bird is extremely voracious, several vultures in Tibet eat a human corpse in half an hour, and eat a yak corpse to the skeleton in two hours" [Birds of the USSR, 1968, pp. 254-255]. Obviously, the feeding characteristics of this bird species served as the basis for the formation of a semantic series that unites carrion-eating carnivores and birds; such characters in the form of syncretic images are known in narrative mythology and the visual arts. Biologists also noted the facts of snow leopards rearing their young on rocks in abandoned vulture nests, which could serve as a definite basis for the formation of metonymic series, including birds and predators, for the formation of mythical syncretic images such as the dogbird Kumai, Hubai-Khus, It-ala-kaz, and Sa-myr (see: [Divaev, 1908; Cheremisin, 1997]).

According to the materials of Kyrgyz folklore, the mythical bird "whose head looks like a golden eagle" and "its body is like a lion" (the description exactly corresponds to the art critic's definition of a griffin) gives birth to Kumayyk, the lord of dogs (Yudakhin, 1965, p.444). A helpless puppy must also be found by another person; if he does not see the puppy for three days, it becomes a bird - "a bald vulture or a lambing eagle, or a bearded eagle" (Moldobaev, 1989, p.41). In the eschatological concept of the Iranian peoples, these birds were assigned an exceptional role. Obviously, this is why in the Iranian languages "huma" - "homay" means the bird of "the best omen", the mythical phoenix bird, whose shadow falling on a person portends happiness, royal greatness, wealth and prosperity, and also denotes specialized necrophages (huma-vulture, vulture, lamb-bearded). sources especially emphasize that this bird eats bones.

In the ancient art of Central Asia, the image of a griffin "with the body of a dog" was widely spread, and "dog - headed griffins" - winged dogs-are also known (Pugachenkova, 1959). K. V. Trever considered the "cosmic being about three natures" to be the prototype of Senmurv, a mythical dog-bird, whose appearance is reflected both in the visual arts and in mythological descriptions of the universe (Bundahishn, Menog-i-Hrat, Zatspram, etc.), believing that the earliest images of it are represented in Scythian monuments ([1937, p. 34], see also: [Smidt, 1980/1981]). S. S. Bessonova noted that Scythian art reflected the essence of the dog-bird as a dark Chthonic monster that received the features of a dragon and a dog [1977]. In Pazyryk art, such a complex of representations, which is fixed in the form of the semantic series "wolf-vulture", was embodied in the fantastic image of a griffin or Altai "vulture" (the ears of Pazyryk griffins were most often depicted in the same way as those of wolves; there are images of griffins with the body of a wolf, etc.) [Kubarev, Cheremisin, 1987].

The connection of the image of a griffin or just the head of a fantastic eared bird with the objects of horse decoration is probably determined by modeling the plot of torment in the equipment of a sacrificial horse, whose murder accompanied the ritual of the owner's burial. The same mythological complex can explain the combination of the image of the griffin with weapons-daggers (so-called vulture daggers) and quiver hooks. Apparently, the food code, which is very relevant for the mythological consciousness, played an important role in the formation of ideas reflected in mythology and the visual arts. In pagan times in Scandinavia, killing on the battlefield was considered a dedication to Odin and his sacred animals-wolves and crows. According to M. I. Steblin-Kamensky, the stories repeated a thousand times in skaldic poetry about how the winner "fed the wolves and ravens" with the corpses of enemies were originally a description of ritual acts, and with the departure of the rite-

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out of practice, such images remained only poetic symbols [1979, pp. 113-114].

The semantics of the image of a griffin (vulture) is most clearly expressed in the plot of torment. In accordance with the archaic concept of death, it was repeatedly interpreted when reconstructing the content of the torment scene in the art of the Iranian - speaking population of Eurasia of the first millennium BC [Kuzmina, 1976; Rayevsky, 1978; 1985, pp. 152-155; Polidovich, 2006]. The plot of tormenting a waterfowl by a griffin on a ritual Khorezmian vessel from Koi-Krylgan-kala (IV century BC) is interpreted as a reflection of a cosmogonic myth. Unknown from written sources, this myth is reconstructed from this Central Asian image, as well as the plot on the silver bowl of the III - IV centuries AD of Iranian or Central Asian work from Bartym (Western Siberia). According to the reconstruction of Yu. A. Rapoport, the meeting of the" great birds " of the terrestrial and celestial worlds (the Simurgh-griffin and the Karshiptar bird) is a "cruel act of creation", in which the primordial primordial essence, which contains parts of the universe and is depicted in the image of a waterfowl, is dismembered by its own creation - the fire-griffin [1977]. In my opinion, this mythologeme can be hypothetically associated with the plot on the golden plate from the IV Seven-Fold mound (mid-V century BC) (see: [Scythian Art, 1986, pi. 107; Cheremisin, 1997, p. 42, fig. 1]).

The Scythian-Siberian animal style plots (the tormenting of deer, horses and other ungulates by griffins, the conjugation of the image of a griffin with a horse, the placement of images of predators on weapons) became the basis for defining the semantics of fantastic predators as characters of the otherworldly "lower" world associated with death. Meanwhile, the Iranian written sources clearly express the good, wonderful, and regal nature of the fantastic ornithomorphic character, semantically and possibly genetically related to the image of the griffin in Scythian culture. From the ancient Iranian humai/homai come Avestan names with symbols of happiness, royal greatness (including Huma-yun - "happy, august") [Justi, 1865, S. 131-132; Bartholomae, 1904, S. 1833; Sa'di..., 1959, p. 79; etc.]. "Homai is the name of a famous bird that is famous for eating bones.<...> Some say it is a vulture that feeds on carrion, and this breed is very numerous. And all of them are known to bring happiness" (Hedayat Sadeq, 1958, p. 308).

Thus, there is every reason to see in the pictorial monuments of the Scythian era of Eurasia not only the infernal, but also the benevolent meaning of the griffin-vulture, most clearly represented in ancient Greek and ancient Indian mythology (the connection of griffins with the sun, according to Flavius Philostratus), as well as revealed in Zoroastrianism and later Lamaism. All of the above, in my opinion, indicates that the negative role and harmful significance of the image of the griffin in the ancient and modern history of Altai, which is postulated by L. S. Marsadolov [1996, 2003] and opponents of reproducing images of the griffin on the coat of arms of the Altai Republic, are not so obvious. The image of a fantastic griffin on the coat of arms of the Altai Republic was defined by its creators-heraldists as "griffin-Kan-Kerede" [Decree..., 1994; Samushkina, 2006]; it combines the image that goes back to the image on the saddle tire from the Second Pazyryk mound [Rudenko, 1948, p. 15, Table CV, 1] and a character from the Altai epic. The debate about the "harmfulness" or "benevolence" of this image as the coat of arms of the Altai Republic does not stop in Altai, which, despite the comical situation that is inevitable when adapting foreign cultural images and symbols, once again testifies to the relevance of the study of the semantics of characters of the Pazyryk animal style.

In my opinion, the idea of the griffin is connected with the archaic concept of death and the role of carrion-eating animals as "burial animals", which he plays in the scene of torment. Written sources, fantastic beak - like characters of Pazyryk tattoos, and the conjugation of the image of a fantastic eared bird of prey - a griffin-with the equipment of sacrificial horses reflected various aspects of this mythological complex. The image of the head of a deer in the beak of a griffin on the top of the headdress of a leader from the Second Pazyryk Mound ( Rudenko, 1953, Table LXXXIII; Kubarev, 19876) is a visual representation of the torment mythologeme. The predominance of images of a fantastic bird of prey (gryphon or "vulture") in the art of the Pazyryk culture, which became the basis for identification by researchers (S. I. Rudenko, N. V. Polosmak, Z. S. Samashev, etc.) of the population of the Pazyryk culture with the" gold-guarding vultures " of Aristaeus and Herodotus , is one of the arguments in favor of the proposed interpretation of semantics this character of the Pazyryk animal style.

Conclusion

Ensembles of ritual attributes that have come down to us intact in the undamaged permafrost burials of the Pazyryk culture, in the language of images in the animal style, obviously embodied the "main myth" of the Scythian culture, most clearly expressed in the plot of tormenting horses and deer by fantastic griffins. An ethnic symbol, possibly a clan emblem of the Pazyryk people.-

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The top of the headdresses in the form of a crane's head was the main feature of Altai. Real and fantastic birds are indispensable characters of various mythological systems of the peoples of Eurasia since ancient times; it is quite obvious that ornithomorphic images played an equally important role in the art and mythology of the carriers of the Pazyryk culture of Altai.

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The article was submitted to the Editorial Board on 20.03.08.

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