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The article presents an ornamented iron stirrup from a rich and noble early Medieval burial in the Balyk-Sook area in the central part of the Russian Altai. This burial is unique not only for South Siberia, but also for neighborring regions, as within it, with the warrior, four horses and protective armour were found. During the course of restoration work, it was established that the arcs and the plate loop of the stirrup were originally gilded and engraved with complex floral ornamentation, the stirrup foot was decorated with gold wire inlay in the form of floral curls. This is the first find of such type in Altai. The burial containing the stirrup was radiocarbon dated to the second half of the 7th — third quarter of the 8th c. The author provides a wide range of similarities among the “status” or “ceremonial” stirrups from funerary and memorial sites of nomadic nobility, including the Kagans from South Siberia, Central Asia, and Eastern and Central Europe, including the such sites of Kagan status as Shoroon Bumbagar in Central Mongolia and Yeleke sazy in Eastern Kazakhstan, Uibat and Tashebinsk Chaatases in the Minusinsk Basin, the Pereshchepinsk hoard and the Voznesenka memorial complex in Eastern Europe, rich Avar burials in Central Europe, and others. Massive and high stirrups with a plate loop were specifically considered during the Medieval period as “status” stirrups, and in some cases they were additionally decorated with ornamentation. They could be cast in gold or silver, covered with gold or silver leaf, decorated with complex ornamentation in various techniques, or decorated with shaped cuts in the stirrup foot. While Avar stirrups, based on Byzantine coins in burials, are dated to the late 6th — early 7th c., radiocarbon dating and analogies show that Central Asian stirrups belong to a later period — second half of the 7th — 8th c., and in some cases to the 9th c. Highly ornamented stirrups from the monuments of South Siberia and Central Asia were probably made on order by Chinese masters for the Turkic-speaking nobility, or may have been received as diplomatic gifts from Tang China.

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This article sums up the results of our study on shell ornamentation of 13 conchostracan species. Their fossil remains were sampled from the Middle and Upper Permian, Induan, and Olenekian (Lower Triassic) deposits of different zoogeographical provinces. Careful examination of the samples revealed different ornamentation patterns of the outer and middle shell layers: the linear elements of the two layers are set in different directions and together create an intersected structure stiffening the shell. Considering the differences in the number and arrangement of ornamental elements on the growth bands and the shells, three types of ornamentation were singled out: simple (one ornamental element), transitional (two ornamental elements alternating on the shell surface), and complex (more than two ornamental elements arranged in a complex pattern). It was concluded that the combination and arrangement of ornamental elements should be regarded as a valid diagnostic feature of fossil conchostracans at the species and genus ranks. Interestingly, the ornamentation patterns of conchostracans tend to become more complex with time: the shells of Late Permian conchostracans have more twisted ornamentation than Middle Permian ones, but it is less complex than that of Olenekian conchostracans; accordingly, the ornamentation of Early Induan conchostracans is simpler than that of Late Permian and Olenekian ones. This can be explained by the fact that the most opportunistic eurytopic species were more likely to survive in the early phases of the biota recovery after the Great Permian Extinction.

Copyright of Journal of History / Habaršy Tarihi Seriâsy is the property of Al-Farabi Kazakh National University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Archaeological materials and data from written sources indicate that Khorezm had recovered from the consequences of the Mongol conquest by the second half of the 13th century. The economic life of Khorezm, which became part of the new Mongol state, the Golden Horde, began to stabilize as early as the middle of the 13th century. The left bank part of Khorezm, which became a part of the Ulus of Jochi and was at the crossroads of the world trade, was mainly experiencing growth. The left bank of the Amu Darya River saw the revival of cities and unfortified settlements. Some right bank cities located near the Amu Darya River were also rising. During the Golden Horde period, pockets of sedentary farming culture also emerged in the south of Khorezm. Ceramics production of the entire Golden Horde state developed under the strong influence of Khorezm, which played a huge role in creating the Golden Horde culture. Pottery ornamentation also changed. A characteristic feature is abundant use of underglaze greenish-black or dark turquoise painting. Ornamental motifs of medieval Khorezm material culture completely differ from ceramics of the previous periods in terms of their artistic interpretation. It was enriched by new pictorial subjects and decorating techniques, and the originality of subject compositions. The ceramics of the period under study are divided into plant, geometric, zoomorphic and epigraphic types.

The paper considers the technological and typological features, and ornamental motifs of unglazed ceramics for kitchen purposes, discovered during archaeological excavations in the South Aral Sea settlements, related to the period of the Golden Horde. It mainly describes the kitchen ceramics from the Golden Horde quarters of the settlements of Mizdakhkan, Dzhampykkaly, Pulzhai and other monuments of the left-bank part of the Amudarya delta. Particular attention is paid to the technological and typological features, and ornamental motifs of kitchen ware. It is proved that kitchen ware has a unique place among the non-glazed products and material culture of the medieval settlements of the South Aral region. In terms to the morphological structure, the kitchen ware of the South Aral Sea region is compared with material artifacts from other regions of Central Asia and the Volga settlements. As for the decorative elements, the kitchen ware is compared to individual elements of folk applied art of the ethnic groups of the South Aral region. The ceramics of this period undergoes significant changes as compared to the previous period. The production of embossed kitchen ware is sharply reduced. Kitchen ware was widely used in everyday life by the population of the South Aral Sea along with other waere in the Golden Horde period. It is known from ethnography that such vessels were considered a cult object.

The paper introduces into scientific discourse the details of early medieval ceramic containers discovered in the course of studies by the Astrakhan Museum-Reserve and the Institute of Oceanology of the Russian Academy of Sciences conducted at the Semibugorinsky archaeological complex in 2021, and deposited at the Astrakhan Museum-Reserve. The studied vessels belong to the so-called pithos-jugs of the Saltovo-Mayaki circle of the 8th–10th centuries. Such ceramic products are widely known from the Khazar monuments of the North Caucasus, in the lower reaches of the Don, the Don area and in the Crimea, found both in the form of whole items and numerous fragments. The paper examines in detail the morphology of the published vessels and their dimensional parameters, and outlines the circle of the closest analogies for each of the items. The issues of the chronology of container ware are discussed. Taking into account the evolution of pottery traditions, mainly related to the process of firing ceramics, which led to a change in its color from gray-clay to red-clay, the authors date the presented red-clay unpolished pithos-jugs the late 9th – early beginning 10th centuries. The assumptions about their manufacture by local artisans-potters are substantiated, as evidenced by numerous discovered fragments of red-clay thick-walled ware, defective ceramic products and ceramic slag. The published vessels expand the source base on the early medieval ceramics of the Volga delta.

This article deals with the history of the development of ornamentation in keyboard music, the principles of its formation and performance styles. Ornamentation is one of the greatest means of expression in keyboard performance. It has ancient historical roots. In keyboard music, ornamentation was subject to various changes depending on the period. Ornamentation manifests itself in various forms in keyboard music. Thus, ornamentation is not just a means of embellishment. It is considered as the main component in the creation of a work. Embellishments are also essential as an aesthetic factor. The purpose of this research is to review the principle of the embellishments’ historical development, to classify the types of ornamentation in music and to determine the role of embellishments in music. At the same time, the research clarifies the concept of the style of ornamentation in the keyboard music of Western Europe. The research methodology is based on a comprehensive musical-analytical, theoretical and historical analysis, a synthesis of the Western European and Russian musicologists’ scientific literature regarding the subject of ornamentation. The research includes links to articles published with regard to ornamentation in music encyclopedias, and the conclusions have been scientifically substantiated. The scientific novelty of the research. For the first time in the framework of the musical science of Azerbaijan, the features and principles of the ornamentation performance in Western European keyboard music were studied. The findings of the study can be used for future research. Conclusions. Ornamentation is important in the keyboard music of Western Europe and acts as its main means of expression. The development of ornamentation in keyboard music is directly related to the art of improvisation. So, embellishments are considered as the main means of expression in the art of improvisation. In keyboard music, ornamentation is not only an embellishment of the melody. Along with the structure of the melody, it also plays an important role in creating the rhythmic structure of the work, the artistic content of the work, and the shape of the texture. Musicologists have considered ornamentation from the point of view of various prisms and classified it in various forms. In the modern period, ornamentation is divided into two groups in the form of embellishments and free ornamentation. One of the main features of keyboard music in Western Europe is that it reflects the musical traditions of that period. It should be noted that the ornamentation in keyboard music underwent a period of rapid development in the Baroque era. The main characteristic feature here is the lack of regulation of decorations, its change depending on the school, style of performance. Later the concept of style in ornamentation was lost. Thus, in the classical era, the embellishments were already regulated and a common system of decorations in European keyboard music was adopted.

The polychromic style of the Late Roman period is characterized by a combination of the following traits: a stable set of ornamental motifs, specific ornamentation techniques (embossing, stamping, granulating and filigree techniques) and bezel setting of semi-precious stones or jewelry glasses. Altogether, five stylistically distinct groups of polychromic articles can be distinguished in the Late Roman Period. The first stylistic group named Illerup–Kerch consists of objects decorated with thin gold plates embossed with the following designs: granulation, filigree patterns, concentric circles and serpents. They appear as early as the second third of the 3rd century AD and continue to exist up to the middle of the 4th century. The second stylistic group Berkasovo–Kishpek includes objects decorated mainly with thin gilded silver plates embossed with both the same and some new designs such as sidelong crosses, stars, triangles. These objects appear not earlier than the early 4th century and continue to exist during most of this century. The third stylistic group Gorgippia–Loo includes massive gold objects decorated all over with festoon patterns of soldered granulation and filigree, and with turquoise, carnelian and garnet inserts in the center of the girdle. While such objects are particularly common at the Caucasian sites (Armaziskhevi, Kldeeti, Loo) dated to the second half of the 2nd century and the first half of the 3rd century, they are also known in Bosporus (Gorgippia, Panticapaeum) and in the Kuban region (“Golden cemetery”). In addition, some of the Late Roman sites have yielded rare finds of objects executed in a technique similar to the technique of filigree incrustation. These objects constitute the fourth stylistic group Aragvispiri–Tanais. They were found at Komarov II (barrow 8); Adzhimushkai, 1841; burial with the Golden Mask of 1837; Berdyansk barrow; Tanais, 1972, etc. The fifth group Messaksudi–Kerch appears in the second third of the 4th century AD and combines characteristics of the previous two groups: ornaments of the third group (genuine granulation and filigree), but on thin gold plates. The main ornamental motif are granulated triangles which fill all the space between the bezels inserted with semiprecious stones and glasses. Nearly all items included in the third and fifth groups may have analogies among the objects of I.P. Zasetskaya’s stylistic group I of the Hunnic era polychrome products, but precede them and belong to the 3rd – 4th centuries AD.

The materials of 25 burials of the burial ground “Kuzinskie hutora” located on the left bank of the Vetluga (Kostroma region, Sharya district) are represented in the paper. This archaeological site was opened in 2013 by V.V. Nikitin and investigated by T.B. Nikitina and A.V. Akilbaev in 2014, 2017. Study of this archaeological site continues. Accompanying burial inventory has a wide range of analogies, on the basis of which the authors make the relative dating of the site within the 9th–11th centuries. Among the inventory there is a range of things (belt elements, some types of weapons, steels), which have spread throughout this period throughout the forest-steppe zone of the European part of Russia. But some items that are the matter for ethnic and cultural identification may be singled out clearly among the burial inventory. Head metal chains, temple rings in the form of a bracelet, chest ornaments in the form of a trapezoid, shoe pendants in the form of eye glasses are considered associated with the Mari population of Vetluga-Vyatka interfluve. Separate items (pendants with two heads of horses, buckle with bear image) indicate a connection with the Perm population of Kama region. Correlation of certain types of the artifacts with definite burials will allow in the future identifying the ethnic groups, associated with this unique necropolis.

In this article, we present the results of a study carried out at the Early Iron Age site in the multi-layered settlement Lastochkino Gnezdo 1 in the Lower Ishim river basin. Following a series of fieldwork studies, it is revealed that this Early Iron Age settlement featured defence constructions in the form of a ditch and a rampart. The discovered hearth and the remains of vessels around it allowed us to suggest the presence of a ground structure built without a pit. The ceramic collection of the settlement is not numerous, comprising about 150 vessels. Four main morphological groups of artefacts have been distinguished. 44 vessels were subjected to technical and technological analysis. The study was carried out applying the historical and cultural methodological approach developed by A.A. Bobrinsky. The study of the technological features of the vessels has confirmed the homogeneity of pottery traditions among the population of the settlement. Potters mainly used silt clay as the initial plastic raw material. Moulding masses were prepared using fireclay and organic additives. When designing vessels, potters used flaps as building elements. Surface treatment methods included smoothing, most frequently with wooden scrapers, knives or spatulas. Only a quarter of the vessels have traces of compaction. The ceramics was fired in hearths or fireplaces. Ornamentation is scarce: the main decorative technique used was imprinting with inclined lines. In some cases, impressed holes were the only decoration. Our findings show that the vessels, despite differences in morphology, were made by potters belonging to a single cultural group and were in use approximately at the same time. The comparison of the data on the specifics of the vessels from the Lastochkino Gnezdo 1 site with those from the Zhuravlevо complex found in the ancient settlement Borki 1, and with the collections from the Bogochanovо culture sites in the Irtysh river area has shown only a certain degree of their similarity. At the current level of research, it is possible to determine the cultural and chronological position of the materials under study as belonging to the Late Zhuravlevо culture.

The bibliographic sources, which, to a greater or lesser extent, show the value of the ornamental phonomenon come from different fields of research. We analyzed the ornament treated in musical literature. All the precious information contained in the researches devoted to material art, especially the traditional ones, has not been ignored, and it has helped us discover some aspects of the ornamentation of traditional instrumental melodies in violonistic interpretation. The consulted bibliography will allow us to elucidate the following problems of the ornamental phenomenon: origin, evolution in time, significance, content, place in the artistic entity, classification criteria and types of ornaments.

This article presents the results of a technical and technological analysis carried out to investigate Zhuravlevo-type ceramics collected from the Borki 1 settlement located in the Ishim river basin (W. Siberia). Ceramics samples were analysed using the historical and cultural approach and methods developed by A.A. Bobrinsky. The conducted research has revealed the heterogeneity of traditions among potters in the Zhuravlevo culture in selecting raw materials, who primarily used clay sand and silt clay. The analysis of the moulding compositions has shown that chamotte and organic additives were frequently used; however, in some cases, chamotte was not added. When constructing vessels, patches were used as building elements. The surface treatment of ceramics was largely performed by smoothing objects with spatulas, wooden scrapers or knives. Only a quarter of the vessels under study have the signs of sealing or polishing. The vessels were fired in simple hearths. Vessels were decorated using smooth stamps, or, less frequently, comb stamps. Various ornament elements made by surface treatment tools — wooden spatulas or knives — were rather customary. The ceramics of the Zhuravlevo type is characterised by «pearl» belts, or, less frequently, holes. Ornamental motifs most commonly included inclined, vertical or arranged in a staggered order stamp prints or angle, grid, horizontal herringbone or vertical zigzag patterns. The comparison of the manufacturing style of Zhuravlevo vessels with that found in the assemblage of Krasnozerska culture (Ishim basin) shows the similarity of pottery traditions in these population groups. At the same time, the results of our study evidence to the appearance of features inherent in the Early Iron Age pottery in terms of both the technology of manufacturing vessels and their ornamentation. The conducted research suggests a continuity between the Krasnozerka and Zhuravlevo cultural traditions in the Ishim basin.

The article presents the results of technical and technological analysis regarding a pottery complex of the Cherkaskul culture from the settlement of Khripunovskoye 1 located in the forest-steppe area of the Tobol River basin. The analysis is made within the framework of historical and cultural approach and the structure of the pottery industry, developed by A.A. Bobrinsky. The conducted research revealed heterogeneity of the traditions that existed among Cherkaskul potters of the settlement Khripunovskoye 1. The potters used two types of soft raw material: clays and silty clays. Analysis of the moulding masses showed a variety of artificial impurities, which were used by the potters. Chamotte used with various organic impurities was a dominant tradition, but also they used talc, crushed quartz, calcined bone, crushed river moluscan shells. The construction of «seed-bodies» of the vessels was manufactured in accordance with the bottom-capacitive program. The vessels were made by the method of sculptural modeling on a plane and with the help of a form-basis. The «seed-bodies» and the hollow bodies of the vessels were constructed using patches. The surface treatment of the ceramics was carried out mostly by a simple method of smoothing with hard tools, after which the walls of the vessels were polished. The vessels were fired in simple hearths. Basing on the data obtained and comparing them with information from other territories, it is possible to say that groups of the Cherkaskul population in the Lower Tobol region appeared as a result of their migrations, most likely from the territories associated with the Ural region.

The article features an analysis of the Neolithic portion of the Gulyukovo I site – a multilayer monument of the Neolithic and Late Bronze Age periods. The Neolithic ceramics discovered at the site is classified into three groups: comb ceramics of the Kama culture, spindle ceramics of the Tatar-Azibey type, and ceramics with notches (toothed ceramics) dating back to various time periods throughout the entire Neolithic. As a result of a comparing these types of ceramics with similar materials from the Neolithic sites of the Kama region and the Ik and Belaya interfluves area, the authors concluded that they correspond to the late Neolithitic period. At the same time, the comb ceramic complex from the Gulyukovo I site presumably dates back to the early Levshino stage of the Kama culture – middle or third quarter of 5th millennium B.C., which is evidenced by a series of similar features determined after the dating value was adjusted. The authors suppose that the complex of spindle ceramics of the Tatar-Azibey type corresponds to a later chronological period. On the basis of its analogies it can be dated late 5th – early 4th millennia B.C. after the adjustment.

The authors introduce for a scientific discussion a clay anthropomorphic figurine discovered on the Tatarskie-Suksy settlement (Aktanysh District, Republic of Tatarstan) found during the archaeological surveys conducted in 2015. The figurine is female and can be associated with the fertility cult. An analysis and interpretation of its ornamentation can offer new data for a reconstruction of costume worn by the early population of the Volga-Kama region. The find is dated by the 3rd – 4th centuries BC and belongs to the late stage in development of the Anaynino cultural-historical area. Its comparison with a similar figurine found in 1958 on the Podgornyi-Baylar III settlement, as well as with other similar finds from adjacent regions allow us to conclude that such items of clay plastics could be spread in later periods as well.

A new find from Muranka unfortified settlement, one of major Golden Horde period sites in the Middle Volga river region is published. It is a double-sided stone mould intended for casting jewelry. Each side of the form was used for casting individual jewelry items: women's hair, head and costume decorations. The head ornaments include two temple rings and earrings shaped as question marks. One more decorative element, styled as a bird’s figure could be either part of some complex piece or an individual product. The other side of the form was used for casting two product varieties: belt buckles and pendants. The mould is of high-quality workmanship. The exact analogy of this rare find is not yet known.

In this study the palmette motif in medieval structures in Kayseri were inspected. Primarily, field study was implemented and palmette motifs which were located in the stone ornamentations in medieval structures in the city center of Kayseri were designated. In conclusion a total sum of 1468 palmette motifs of 9 main types were located in 17 separate structures. The structures in which palmette motifs were applied and the improvement of the palmette motif in the period are the basis of this study.

Eighthy-three species, varieties and garden forms of wood plants (from 27 families and 54 genera) are registered in rich dendrocollection of Yerevan Botanical Garden of NAS of Armenia. They are highly ornamental by foliage shape, color and abundance of flowers and fruits, autumn color of leaves, as well as the timing and duration of flowering. The suitability of certain types of exotic species of wood for use in landscaping types was assessed to be used as the tapeworm, for street and alleys, as well as group plantings, hedges and borders, vertical gardening, long flowering gardens, etc. [ABSTRACT FROM AUTHOR]

Purpose. Complex research and development of three-dimensional structures of color and ornamentation of the modern women's clothing with elements of national dress and traditions of Iran ethno art. Methodology. The research, to improve the artistic and compositional characteristics and tectonic structure of modern clothing techniques used system-structural, morphological analysis, the method of classification and association formation. Findings. The system of artistic and compositional elements of building forms of contemporary women's apparel, defined three-dimensional shapes and assortment rows based on an analysis of the national costume of Iran, using the principles of modular and coloristic harmonization. Originality. A comprehensive study of the principles of composite construction national dress of various regions of Iran, to develop a range of indicators of the aesthetic quality of the modern women's clothing based on the harmonization of the aesthetic, structural and technological, social and national factors of design. A method and algorithm of the process of artistic design costume based on national traditions and ethno art. Practical value. Based on the proposed method of artistic design of modern clothes, taking into account national traditions and ethno art, developed recommendations for the design of product lines series models, with improved aesthetics and ergonomics, while maintaining the traditional peculiarities of Iran. [ABSTRACT FROM AUTHOR]

Copyright of Stratum Plus Journal is the property of P.P. Stratum plus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)