Пластика з трипільського поселення-гіганта Тальянки (комплекс "Сім’я гончаря 1”, розкопки 2011 — 2017 рр.)

Стаття присвячена аналізу предметів пластики, знайдених на території житлово-виробничого
 комплексу «Сім’я гончаря 1» з трипільського поселення Тальянки, і їх планіграфії. During 2011—2017 Trypillian expedition of the Institute
 of Archaeology of NASU carried out research
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Published in:Археологія і давня історія України
Date:2021
Main Author: Овчинников, Е.В.
Format: Article
Language:Ukrainian
Published: Інститут археології НАН України 2021
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Online Access:https://nasplib.isofts.kiev.ua/handle/123456789/187496
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Journal Title:Digital Library of Periodicals of National Academy of Sciences of Ukraine
Cite this:Пластика з трипільського поселення-гіганта Тальянки (комплекс "Сім’я гончаря 1”, розкопки 2011 — 2017 рр.) / Е.В. Овчинников // Археологія і давня історія України: Зб. наук. пр. — К.: ІА НАН України, 2021. — Вип. 2 (39). — С. 237-260. — Бібліогр.: 38 назв. — укр.

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Digital Library of Periodicals of National Academy of Sciences of Ukraine
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Summary:Стаття присвячена аналізу предметів пластики, знайдених на території житлово-виробничого
 комплексу «Сім’я гончаря 1» з трипільського поселення Тальянки, і їх планіграфії. 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.
ISSN:2227-4952