«TERRACOTTA» ITEMS FROM THE TRYPILLIAN SETTLEMENT-GIANT TALYANKI (COMPLEX «CERAMIST’S FAMILY 1», EXCAVATIONS 2011—2017)

E. Ovchinnikov
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Abstract

During 2011—2017 Trypillian expedition of the Institute of Archaeology of NASU carried out research of the residential-industrial complex «Ceramist’s Family 1» on the trypillian settlement-giant Talyanki (3800 BC, Tomashivskaia locally-chronological version of the culture). This complex was located in the western part of the northern sector of the settlement. Its boundaries determined by gaps in the built-up of a single line of the houses. As a separate structure of the settlement, this complex consisted from five houses, three kilns, a production pit, consisting of several depressions, and two small pits. This article is devoted to analysis of ceramic items that are usually associated with ritual and ceremonial activities and foundon the territory of the designated complex, primarily their planigraphic distribution. The collection consists of 67 items and includes 17 anthropomorphic and 9 zoomorphic figurines, 2 models of dwellings, 18 models of sledges, 4 models of vessels, 6 small geometric objects (balls, cones, chips), 3 ceramic ornaments and 8 small relief pieces that are not part of ceramic vessels. Most of the items found in the pit (46 items), a smaller number of them are associated with the residential sector of the complex (20 items) and only half of them (12 items) originate directly from houses, the rest are distributed in the adjacent territory within a radius of 1—4 m from residential buildings. Only one item found in the kiln «D». The vast majority of «terracotta» items are fragmented. Its disposal, like the ceramic dishes, went the same way — the debris taken out of the houses. Most of them fell into the pits; a smaller part of the ceramic broken used as a building material for the construction of kilns. Overall, the ratio of vessels fragments and fragments of «terracotta» items at different objects of the complex is close. Therefore, for 20 units of «terracotta» items found in houses and the adjacent territory, there are about 11 thousand ceramic fragments of vessels. Forty-six of «terracotta» items from the big pit oppose for about 13 thousand of ceramic fragments of dishes. Only one fragment of the sledge model comes directly from the kiln construction. Unique «terracotta» items, high quality wares, did not lose their importance, probably even after the breakdown. They either put in special places or disposed of in a special way. Thus, entire models of sledges was found on the podium in house 47, and a model of a uniquely shaped found in the lowest ash layer in one of the depressions of the large pit near the kiln «D». In rare cases, anthropomorphic and zoomorphic figurines founded in the deepest parts of the pit. The difference in the technical and technological characteristics of various «terracotta» items may indicate that the need to make sculptures sometimes arose spontaneously and was far from always associated with the specialized work of the kiln. We assume the likelihood of a wide range of participants in the «terracotta» making process, in which, in addition to potters, there could be «non-professionals» — children, apprentice, etc.
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来自特里布里亚定居点的“陶俑”物品-巨型塔利扬基(复杂的“陶艺家家族1”,发掘2011-2017年)
在2011-2017年期间,NASU考古研究所的特里皮里亚探险队在特里皮里亚定居点-巨人塔利扬基(公元前3800年,托马希夫斯卡亚当地按时间顺序的文化版本)进行了住宅-工业综合体“陶家家族1”的研究。这个建筑群位于定居点北部的西部。它的边界由单排房屋的间隙决定。作为定居点的一个独立结构,这个建筑群由五个房屋,三个窑,一个由几个洼地组成的生产坑和两个小坑组成。本文致力于分析通常与仪式和礼仪活动有关的陶瓷物品,并在指定的建筑群的领土上建立,主要是它们的平面分布。该系列共有67件藏品,包括17个拟人雕像和9个兽形雕像、2个住宅模型、18个雪橇模型、4个容器模型、6个小几何物体(球、锥、片)、3个陶瓷装饰品和8个非陶瓷容器的小浮雕。在坑中发现的大部分物品(46件),少数物品与综合体的住宅部分有关(20件),只有一半(12件)直接来自住宅,其余的物品分布在距离住宅1-4米半径内的邻近区域。在D窑只发现了一件物品。绝大多数“兵马俑”物品都是破碎的。它的处理方式,就像陶瓷盘子一样——从房子里取出碎片。他们中的大多数人掉进了坑里;碎陶瓷的一小部分,用作建造窑炉的建筑材料总的来说,在建筑群的不同物体上,容器碎片和“兵马俑”碎片的比例是接近的。因此,在房屋和邻近地区发现的20件“兵马俑”物品中,约有11000件陶器碎片。从大坑里挖出的46件兵马俑与大约1.3万件餐具陶瓷碎片形成对比。只有一个雪橇模型的碎片直接来自于窑炉结构。独特的“陶土”物品,高质量的陶器,并没有失去他们的重要性,甚至可能在崩溃之后。它们要么放在特殊的地方,要么以特殊的方式处理。因此,在47号房屋的平台上发现了整个雪橇模型,在窑“D”附近大坑的一个洼地的最低灰层中发现了一个独特形状的模型。在罕见的情况下,在坑的最深处发现了拟人化和兽形的小雕像。各种兵马俑在技术和工艺特征上的差异可能表明,制作雕塑的需求有时是自发产生的,与窑炉的专业工作远非总是相关的。我们假设在“兵马俑”制作过程中可能有广泛的参与者,其中除了陶工之外,还可能有“非专业人士”——儿童、学徒等。
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