Lintuaiheinen keramiikka Länsi-Siperiassa

[merimaa]

Itä-Euroopan ja Länsi-Siperian muinaiset ihmiset pitivät ilmeisesti linnuista (ja pitivät lintuja ehkä myyttisinä olentoina), koska he tekivät lintuaiheisia veistoksia ja keramiikkaa. Länsi-Siperiassa tämä lintufanien kulttuurillinen alue ulottui Ural-vuoriston eteläosasta aina pohjoiseen asti. Siellä vaikutti mm. Vary-Khadyta -niminen kulttuuri.

Yuri Serikov: The waterfowl image in the art of the Neo-Eneolithic population of the Urals. (venäjänkielinen)
https://snv63.ru/2309-4370/article/view/34320/en_US

”Ural researchers include friezes from realistically executed images of waterfowl on vessels of the Koptyakovo culture of the Bronze Age as part of the local Chalcolithic tradition. Such vessels are known at Upper and Lower Makusha, Koptyaki 5, Palatki I, Shaitanskoye Lake II (Fig. 3: 2 ) [17, p. 49–54].”

”New sources confirm N.N. Gurina’s assumption that the territory of distribution of waterfowl images coincides with the area of residence of the population of the Finno-Ugric language group [1, p. 45].”

Evgeniy Vasiliev: Transcultural traditions of North-West Siberia in Neolithic and Early Bronze Age. (venäjänkielinen)
https://cyberleninka.ru/article/n/trans ... go-metalla

”The third of the identified traditions – the special iconography of ornithomorphic images – is the least long-lasting and covers only the Chalcolithic era and the Early Bronze Age. Waterfowl are alone [one?]
of the favorite characters in the primitive art of Northern Eurasia, and among the images on ceramics they absolutely dominate. At the same time, it is known that this image gravitates towards a certain geographical zone (forests of Finland, the Eastern Baltic, the European part of Russia, the Urals, Western Siberia) and a single chronological period (Neolithic - Early Bronze Age) [7. pp. 36–45]. Within the designated territory, three centers of concentration of ornithomorphs are usually distinguished: the lake regions of Finland, the interfluve of the Oka and Volga, and the mountain-forest Trans-Urals [8. P. 46]. Western Siberia is assessed as an area where such stories are rare [9. P. 86]. The last statement needs correction. Today, more than ten images of waterfowl are known in the North of Western Siberia. Taking into account the poor study of the region, such an indicator allows us to assume the presence of an independent Lower Ob center (tradition) of ornithomorphic images on ceramics.”

”Without a doubt, vessels with birds had a special status. We tend to consider them as plastic and graphic ideograms that contain the most important mythological texts. Consequently, the stylistic unity of images is not only an indication of a common cultural space, but also evidence of the development of common ideological ideas.”

Lintuaiheisten veistosten ja keramiikan kulttuurillinen alue oli joka tapauksessa olemassa jo ennen uralilaisten kielten leviämistä ja kielet levisivät vasta myöhemmin juuri kyseisen alueen päälle.

[Kinaporin kalifi]

Kiintoisa huomio. Uralilaisiin kansoihin liitetty vesilintuaihe voisi taustaltaan liittyä siis Koptjakin kulttuurialueen paikallisiin perinteisiin.