作为民族文化进程标志的 "斯堪的纳维亚 "十字形吊坠:老问题的新视角

A. E. Vinogradov
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摘要

这种 "斯堪的纳维亚 "类型的中世纪十字架形吊坠与北欧第三文化有关;然而,随着来自不同地区的材料发现的积累,大多数研究人员倾向于认为这种现象起源于古罗斯,甚至更南的地区。同时,由于拜占庭类型的古代文物与 "斯堪的纳维亚 "类型的文物相去甚远,因此这种类型的问题与古代东方基督教的联系也受到怀疑。有人认为,西方萨尔马特式十字架是其余十字架的原型,它产生于古代游牧民族的太阳或植物神圣世界,而不是基督教崇拜。随后出现的 "斯堪的纳维亚 "类型的坠饰,首先出现在墨洛温王朝的古物中,补充了考古学家所了解的日耳曼-萨尔马特文化共生的观点。坠饰在克里米亚和盆地分布的增加反映了民族迁徙、向东斯拉夫地区和斯堪的纳维亚地区的推进--显然是忏悔和文化进程,因为萨尔马特十字架的象征意义逐渐获得了基督教特征。
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Cross-shaped pendants of the ‟scandinavian” type as markers of ethnocultural processes: a new look at an old problem
Medieval cruciform pendants of this “Scandinavian” type are associated with the Norse hird culture; however, as material finds from various regions accumulated, most researchers were inclined to believe that this phenomenon originated in Old Rus’, if not in even more southern realms. At the same time, the connection of problems of this type with Eastern Christian ancient doubts, since ancient artifacts of Byzantine types are quite far from the ‟Scandinavian” ones. It is suggested that the Western Sarmatian type crosses served as the prototype of the remaining crosses, which arose with the solar or plant sacred world of the ancient nomads rather than with the Christian cult. The subsequent appearance of pendants of the ‟Scandinavian” type, first among the Merovingian antiquities, complements the ideas of the Germanic-Sarmatian cultural symbiosis known to archaeologists. Increased distribution of pendants in the Crimea and the basin reflects ethnic migrations, advancement into East Slavic lands and Scandinavia – obviously confessional and cultural processes, as the symbolism of the Sarmatian cross gradually acquired a Christian character.
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