?
Не просто монстры: на лицо ужасные,нужные внутри. Монстрообразные изображения в искусстве Передней Азии
The theme of the microcosm in the art of the Ancient East is taken up in the chapter written by S. A. Zinchenko, who devoted the study to the images of monster-like creatures, which constitute a rather interesting corpus of monuments of art in West Asia during the pre-Ceramic Neolithic period. interesting corpus of monuments of art of West Asia in the pre-Ceramic Neolithic period. The most famous of them come from Göbekli Tepe, Hallan Chemi, Nevaly Chori, Çatal Hüyük and other settlements. Under the conventional term ‘monster-like creatures’ the author of the chapter primarily means mixomorphic images, as composed of different components (anthropomorphic and anthropomorphic).anthropomorphic and zoomorphic, as well as those composed on the basis of one category (first of all, zoomorphic and anthropomorphic).category (primarily zoomorphic). All of them are united by an extremely bizarre appearance, in no way correlated with the concrete,prototype observed in reality. The pictorial material related to the presentation of monster-like creatures can be divided into conventional types: 1) myxomorphic, created
by simple addition of the unusual from the unchanged in its original proportions details and not possessing
(2) Myxomorphic, created by simple addition of the unusual from parts modified in their original proportions (hypertrophied) and not possessing pronounced ugliness; (2) Myxomorphic, created by simple addition of the unusual from parts modified in their original proportions (hypertrophied) and not possessing pronounced ugliness
pronounced ugliness; 3) myxomorphic with principled i.e. those characters that actually fall under the commonly used notion of ‘monster’. The presence of monster-like characters is insignificant from the initial stages of the pre-Ceramic Neolithic almost to its end.On the basis of the analysis of the types conventionally singled out by the author
It is possible to suggest that the number of monster-like characters is distributed among themselves in the following way: mixomorphs predominate as follows: mixomorphic, created by simple addition of the unusual from parts unchanged in their original proportions and not possessing pronounced ugliness, and mixomorphic with a principal emphasis on the conscious ugliness, ugliness, i.e. those characters that actually fall under the commonly used concept of the ‘monster’ are practically absent. The absence of types of monster-like images, clearly recorded in the pre-Ceramic Neolithic cultures of West Asia, is probably determined by the ‘character’ of the time, when the symbols important for the fixation of representations were only at the stage of formation, and the symbols were only at the stage of formation symbols are only at the stage of formation, not giving rise to clearly formulated and repeatable pictorial schemes. The appearance of both monster-like and simply hypertrophied characters in certain parts is a significant evidence of the need to fix some kind of a qualitatively new information important for the collective and/or its individual members - it can be assumed that the analysed images act as symbols, signs used to record it.Important conclusions explaining the possible reasons for the appearance and existence of monster-like characters in pre-Ceramic Neolithic cultures are, first of all, connected with their use in ritual activities in ritual activity. As such, ‘monsters’, in the creation of which visually powerful and memorable images were used, were included in the processes of fixation of dominant symbols. One of the most important means for these characters to stick in the memory was the inherent consciousness of their external unconventionality, their principled
One of the most important means for these characters to stick in the memory was their inherent conscious unoriginality, the fundamental impossibility to relate them to a real prototype, realised through specific artistic techniques. All the special ways of performing the images were designed not tosimply to signify the presence of monster-like characters in ritual and cult practice, but also to fill them with a living emotion, through which the model of the world was not perceived as a dead construction, but was experienced and experienced.
dead construction, but experienced and lived. Aiming at the inevitable emergence of certain emotions required the creation of fundamentally unusual images, designed to produce active impressions when contemplated. Emotion, interacting both with the imagination and with the experiences arising from the consideration of fantastic images, is necessary as a means of adaptation, helping to cope with the psychic load generated by the fears of both the collective and its individuals before the incomprehensible, inexplicable, and sometimes openly hostile world around them. Contact with this world, which evokes a complex emotional palette the world favours a deeper assimilation and memorisation of information comprehended in the process of ritual, because in its process there is an interaction and mutual influence of emotions and cognitive processes. The above-mentioned usefulness of ‘monsters’ for the pre-Ceramic Neolithic cultures of West Asia is not exhausted: they can be a means of communication, establishing a dialogue and its boundaries with the surrounding world and its boundaries with the surrounding natural and human world. Communication inevitably implies not only contact, but also its inevitable consequences; hence, the need to defend their world endows the monster characters with an apotropaic function as well. The noted multifunctionality of monster characters implies both the interchange of their ‘roles’ and their isolated existence as well as their isolated existence. Let us assume that in the period under consideration, a permissible indication of this may be the following
the absence of sufficiently well-defined types of ‘monsters’, which probably testifies to the initial stages of the formation of ideas about their amorphous, literally and figuratively, appearance.
In book
