Ornament (Archaeology)

Els elements de decoració sobre malacologia dels nivells geomètrics del Filador (Margalef de Montsant)

by Pilar Garcia-Argüelles Andreu

co-authored with, J. Nadal i A. Estrada
Published in "GALA 2,  Sant Feliu de Codines, 1993

Going to pieces at the funeral: Completeness and complexity in British Early Bronze Age jet 'necklace' assemblages

by Catherine Frieman

Frieman, C. J. Forthcoming. Going to pieces at the funeral: Completeness and complexity in British Early Bronze Age jet 'necklace' assemblages. Journal of social archaeology.

The construction of identity and the social use of ornamentation in the British Chalcolithic and Early Bronze Age (2500 - 1500 BC)

by Alice Rogers

Poster presented at the "Rags and Riches" conference, University of Reading, April 21st.

Obiecte de podoabă cucuteniene: coliere și pandantive

by senica turcanu

Abstract: The practice of embellishing the human body with jewels has accompanied throughout millennia the evolution... more Abstract: The practice of embellishing the human body with jewels has accompanied throughout millennia the evolution of human societies. Made of various materials, jewels were assigned throughout time a multitude of valences, illustrating both the development degree of an epoch and the artistic taste of the human communities and last but not least transmitting messages that need to be understood and pointed out. From the data resulted so far from archeological researches, no other prehistoric European civilization than the Cucuteni culture transmitted to our times so varied items, providing information regarding this topic. The paper aims at presenting the types of Cucutenian collars and pendants, a topic that has been too little approached so far. Our research is based on exceptional discoveries within treasures and also isolate finds resulting from sites, corroborated with plastic or painted representations on the anthropomorphic statuettes.

Obiecte de podoabă cucuteniene: coliere și pandantive

by senica turcanu

Abstract: The practice of embellishing the human body with jewels has accompanied throughout millennia the evolution... more Abstract: The practice of embellishing the human body with jewels has accompanied throughout millennia the evolution of human societies. Made of various materials, jewels were assigned throughout time a multitude of valences, illustrating both the development degree of an epoch and the artistic taste of the human communities and last but not least transmitting messages that need to be understood and pointed out. From the data resulted so far from archeological researches, no other prehistoric European civilization than the Cucuteni culture transmitted to our times so varied items, providing information regarding this topic. The paper aims at presenting the types of Cucutenian collars and pendants, a topic that has been too little approached so far. Our research is based on exceptional discoveries within treasures and also isolate finds resulting from sites, corroborated with plastic or painted representations on the anthropomorphic statuettes.

Podoabe pentru gât reprezentate pe statuetele antropomorfe ale culturii Cucuteni-Tripolie/ Neck Ornaments Present on the Cucuteni-Tripolie Anthropomorphic Statuettes

by senica turcanu

Bronze and Iron Age carnelian bead production in the UAE and Armenia: new perspectives

by Olivier Brunet

Brunet O., 2009, "Bronze and Iron Age carnelian bead production in the UAE and Armenia: new perspectives", Proceedings of the Seminar for Arabian Studies 39 : 57–68.

During the Bronze Age, the Harappan civilization was characterized by its great production of carnelian beads, widely... more During the Bronze Age, the Harappan civilization was characterized by its great production of carnelian beads, widely exported in the Middle East. Etched carnelian and classical Harappan beads are considered, rightly, as cultural hallmarks of the Indus Civilization. Indeed, this theory has become so firmly rooted that many believe that all carnelian beads come from the Indus valley. But were there other sources? Did bead production on a more local scale exist, outside these vast circulation networks? This study examines beads that originated from two distinct geographical and cultural areas: the UAE and Armenia. In the third millennium BC, workshops in the Indus Valley produced most of the carnelian beads found in the UAE. In contrast, in the second millennium BC, another network of exchange came into existence. This study focuses on the material from the Shimāl and Џāyah necropoleis, which comprises more than 2300 objects. On the other side of Iran, in Armenia, carnelian beads are equally common. Where did they come from? The study of material from six sites distributed throughout the country, constituting a total of more than 1300 artefacts, raises a number of interesting questions about the products of this region.
This technological study reveals the existence outside the Indus Valley of different productions and levels of technical skill.
It suggests that we should revise our understanding of Bronze and Iron Age exchange networks, by offering another reading of
carnelian production in this part of the world.

Палагута И.В. Элементы «технического» орнамента и проблемы интерпретации декора керамики Триполья-Кукутени // Изобразительное искусство в археологическом наследии. Сборник статей (под ред. А.В. Колесника) / Археологический альманах, №21. Донецк, 2010. С. 24–34.

by Ilya Palaguta

Palaguta Ilya
ELEMENTS OF 'TECHNICAL ORNAMENT' AND THE PROBLEM OF THE INTERPRETATION OF DECORATIONS OF... more Palaguta Ilya
ELEMENTS OF 'TECHNICAL ORNAMENT' AND THE PROBLEM OF THE INTERPRETATION OF DECORATIONS OF TRIPOLYE-CUCUTENI POTTERY
'Technical ornament' is a reproduction of relict details of constructions after disappearing of their links with technology and usage of some ware. The studies on 'technical ornaments' plays an important role in archaeological typology. Many "technical" elements also represents in sophisticated designs of Tripolye-Cucuteni culture. Derivations of texture of non-ceramic items ('wattled' designs) were widespread in Tripolye BI - Cucuteni A period as a sequence of influences of sub-carpatian Neolithic (possible Tisza or Petreshti cultures). It reflects the influence of basketry, weaveing and textile production on pottery making. Derivations of handles are also frequent in Tripolye-Cucuteni designs. Handles are commonly transformed to motives included concentric or crossed circles or dots. Some of such derivations named 'face motives'. However, their origins do not link with the 'face of moon-like goddess' but with the transformation of handles and using of its derivations as decorative element. Such way, the studies on 'technical design' disclaim the figurative interpretations of variety of design elements, but give possibilities to retrace the authentic evolution of ornaments.
Key words: Tripolye-Cucuteni culture, 'technical decorations', elements and composition of ornaments, 'face'motive of decoration, interpretations of ornaments.

В статье рассматривается феномен "технического декора" на керамике — воспроизведения в орнаменте реликтовыл деталей конструкции или текстуры поверхностей некерамических изделий. "Техническое" происхождение имеет и целая серия орнаментов керамики культуры Триполъе-Кукутени. Воспроизведение текстуры и декора плетеных и тканых изделий характерно для орнаментов периода Триполъе В1 - Кукутени А, что связано с влиянием на Триполье культур Тиса и Петрешти. Широко распространено в Триполье-Кукутени и воспроизведение в виде орнамента ручек, утративших свое функциональное назначение, которые обычно трансформируются в мотивы в виде кругов. Исследование развития "технического орнамента " показывает частую несостоятельность фигуративных и "знаковых " его интерпретаций, но, с другой стороны, дает возможности для выявления путей эволюции композиций и элементов декора.
Ключевые слова: культура Триполье-Кукутени, "технический орнамент ", элементы и композиция декора, "лицевой " мотив, интерпретация орнамента.

Палагута И.В. Обратимость узора в эволюции орнаментов керамики культуры Триполье-Кукутени // Изобразительные памятники: стиль, эпоха, композиции. Материалы тематической научной конференции. Санкт-Петербург, кафедра археологии СПбГУ, 1–4 декабря 2004 г. Санкт-Петербург, 2004. С. 105–108.

by Ilya Palaguta

L’autoritratto di Andrea Mantegna nella ‘Camera dipinta’ del castello di San Giorgio a Mantova: le peripezie di un motivo ornamentale (2011)

by Natalia Agapiou

Paper presented at the XXXII Congresso Internazionale di Studi Umanistici, held at Sassoferrato (Marche), 29 June - 2 July 2011.

Article in press.

Necropola eneolitică de la Sultana-Malu Roşu, com. Mânăstirea, jud. Călăraşi. Piese de podoabă din inventarul M1

by Catalin Lazar

with Corneliu Beldiman, Diana-Maria Sztancs

Палагута И.В. Из истории интерпретации древних орнаментов: к проблеме мифотворчества в гуманитарной науке XX века // Современное искусство в контексте глобализации: наука, образование, художественный рынок. Тезисы докладов II Всероссийской научно-практической конференции «Современное искусство в контексте глобализации: наука, образование, художественный рынок», 30 января 2009 года. СПб.: СПбГУП, 2009. С. 34–39.

by Ilya Palaguta

Palaguta I.V. From the History of Interpretation of Prehistoric Ornaments: to the Problem of Myth-making in Modern... more Palaguta I.V. From the History of Interpretation of Prehistoric Ornaments: to the Problem of Myth-making in Modern Humanities Studies

Подвигина Н.Л., Писарева С.А., Киреева В.Н., Палагута И.В. Исследование расписной энеолитической керамики культуры Триполье-Кукутени (IV–III тыс. до н.э.) // Художественное наследие. Хранение, исследование, реставрация, 17. М., 1999. С. 33–37.

by Ilya Palaguta

Researches of Tripolye-Cucuteni painted decoration carried out in Physical and Chemical Methods Laboratory of State... more Researches of Tripolye-Cucuteni painted decoration carried out in Physical and Chemical Methods Laboratory of State Institute of Conservation (GosNIIR) revealed that painting could be applied after firing. In 1992-93, 80 samples from 17 Tripolye settlements were studied (8 of them belonging to BI stage). Chemical analyses demonstrated the presence of organic bindings based on proteins and carbohydrates in paint formulae; during high-temperature firing these components would inevitably burn out. Such bindings are not detected in samples that underwent secondary firing in dwelling fires. Besides, in such articles, changes of colors due to high temperatures are noticeable: paints would become lighter or, inversely, darker.
This conclusion calls for a revision of the previously formulated hypothesis of a drastic change in decoration technology that supposedly took place when polychromatic painting was introduced. According to a widespread opinion, this painting, unlike the painting of relief decors, was applied prior to firing. However, the results of GosNIIR analyses suggest that such fundamental technological differences did not exist: all types of painting were applied AFTER FIRING. Differences in quality of painting mostly depend on pottery preservation degrees in layers of different settlements, rather than on the technologies used at the time.
Technology of paint preparation and application of painted decors seems to be fairly sophisticated. The following dyestuffs were used:
– red pigment based on ferric oxides and hydroxides (Fe2O3, hematite, or red ochre);
– white pigment made of kaolin clays (the calcium silicate, CaSiO2, component of these paints could also be produced in paint firing, from calcium carbonate CaCO3); and
– black pigment including compounds based on ferric and manganese oxides.
Paint preparation included firing (ferrous red-colored pigments were fired) and powdering. Paints and priming were composed based on organic bindings, proteins or vegetable juices (carbohydrates and lipids). Decor would be additionally coated with a protective layer of wax or a resin-based varnish, which both preserved the painting and improved the vessel moisture resistance.

Палагута И.В. Проблемы изучения спиральных орнаментов трипольской керамики // Stratum plus, 2. СПб — Кишинев — Одесса, 1999. С. 148–159.

by Ilya Palaguta

Palaguta I.V. Problems of studying spiral ornaments of the Tripolye ceramics // Stratum plus. 2, 1999. P. 148-159.more Palaguta I.V. Problems of studying spiral ornaments of the Tripolye ceramics // Stratum plus. 2, 1999. P. 148-159.
The article is devoted to the research of spiral ornaments of the Cucuteni-Tripolye culture.
The pointed lines of the ornaments development allow to confirm that ornamental schemes of the Tripolye ceramics develop on the basis of initial composition which consists of snakes' images. Beginning with the Tripolye Bl - Cucuteni A period significant changes occur in the main scheme which gradually loses its initial meaning. Changes in the design technology have taken the important part of it.
"Reading" of those ornaments could be hardly done because of the decorating art. Various levels of stylization and repetition, rhythm of the ornamental motives initially open possibilities to interpret the pictures in a rather free way.
The typological research of the design is the most perspective as it opens wide possibilities to study relative chronology and local peculiarities of the Cucuteni-Tripolye monuments.

Палагута И.В. Явление обратимости и основные направления развития композиций орнаментов трипольско-кукутенской керамики // Материалы 9 и 11 заседаний научно-методического семинара «Тверская земля и сопредельные территории в древности» / Тверской археологический сборник. Вып. 7. Тверь, 2009. С. 411–418.

by Ilya Palaguta

I.V. Palaguta
A PHENOMENON OF REVERSIBILITY AND THE BASIC TRENDS OF THE DEVELOPMENT OF ORNAMENT COMPOSITION OF... more I.V. Palaguta
A PHENOMENON OF REVERSIBILITY AND THE BASIC TRENDS OF THE DEVELOPMENT OF ORNAMENT COMPOSITION OF THE TRIPOLYE-CUCUTENI POTTERY
Summary
The article considers the main streams of ornament evolution of Tripolye-Cucuteni culture belonging to the circle of «the cultures of painted pottery» of the South-Eastern Europe Chalcolithic (the 4th - 3rd millennium BC). In the base of the Tripolye-Cucuteni pottery decorum originally a composition of two «snakes» curled towards each other was put. Further development of ornamental compositions was determined by following conditions: 1) schematization of their basic elements; 2) increasing of decorative function owing to the entering of additional elements; 3) a «reversibility» of design, when parts of ornament background begin to be interpreted as decorative figures. Such transformations of the Tripolye-Cucuteni decorum evidence the changes in ornaments treatment by their own producers as well as the substantial role in their development of not so much a semiotic aspect which was often brought to minimum because of a mechanic, serial copying of a sample as an aesthetic factor.

Палагута И.В. Орнаменты Триполья-Кукутени: направления исследований и возможности интерпретации // Российский археологический ежегодник. Вып. 1. СПб., 2011. С. 245–261

by Ilya Palaguta

Palaguta I. V. Tripolye-Cucuteni ornaments: directions of research and ways of interpretation.
The paper is... more Palaguta I. V. Tripolye-Cucuteni ornaments: directions of research and ways of interpretation.
The paper is devoted to the interpretation of the Tripolye-Cucuteni culture pottery designs. In the last decades the abstract-geometric ornamental motifs were often treated on the basis of subjective associations as images of a «moon-faced Goddess», «World egg», «shells», etc. Various ethnographic analogies, usually rather distant from the material under study, were used to reconstruct the meaning of the designs.
Within the framework of the «structural-semiotic approach» the ornament is analyzed as a «sign system» or «proto-writing», where each element or motif is supposed to bear a particular meaning. However, the careful analysis of the dynamics inherent
in the development of ornamental motifs shows, that such interpretations lack solid grounds. Most signs prove to be elements of «technical design» (marking-out). The construction of ornaments mostly proceeds by way of dividing ornamental fields, not by creating sequemnces of signs like it is done in texts. What was meaningful was the ornament taken as such, as an integrated whole, and not its elements. Ethnographic evidence shows, that even the interpretation of identical ornamental figures may vary considerably within the same society. This is confirmed by the author’s observations on the variation of the Tripolye designs. They seem to have no unambiguous «reading». The main directions of future research lie in the realm of paleoethnological and paleoculturological studies, where ornamental designs are regarded as specific markers, reflecting reflecting changes in ethnic composition and social structure of past societies, and bearing information about contacts between representatives of different groups

Палагута И.В. Обратимость орнаментов в развитии локальной керамической традиции // Памятники археологии и художественное творчество: Материалы осеннего коллоквиума. Вып. 3 / ООМИИ им. М. А. Врубеля. Омск, 2005. С. 66–70

by Ilya Palaguta

Palaguta I. Some Results of Studies on Cucuteni-Tripolye Decoration Techniques // Archaeometry 98. Proceedings of the 31st Symposium, Budapest, 27 April — 1 May 1998. Volumes I & II (Ed. by E. Jerem and K.T. Birό). BAR, Archaeolingua Central European Series 1. Oxford, 2002. P. 627–629.

by Ilya Palaguta

Палагута И.В. О возможностях «прочтения» трипольских орнаментов // Проблеми дослiдження пам’яток Схiдної України: Матерiали II-ї Луганської мiжнародної iсторико-археологiчної конференцiї, присв’яченої 85-рiччю Луганського обласного краєзнавчого музею. Київ, 2005. С. 38–40

by Ilya Palaguta

Palaguta I. “Technical decoration” of the Tripolye Ceramics // Archaeology, Ethnology & Anthropology of Eurasia, Vol. 37 (2). Amsterdam: Elsevier, 2009. P. С. 85–91

by Ilya Palaguta