' c I 29.2:AR 7/2 ClemsonUniversity o-j 3 1604 018 921 587 EARLY ART OF THE NORTHERN FAR EAST THE STONE AGE A 2,il^ By 93 Iffi M. A. Kiriyak I 77 /'*. <"" tftf ':*", 36 j Translated by QA« 35 ° W Richard L. Bland D i 0«WO» e re ? ' if 5« "IS 64 63 45 56 ,695 20 I ' 49 50 a 52 O FEDERAL PUBLICATION Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://www.archive.org/details/earlyartofnortheOOkiri EARLY ART OF THE NORTHERN FAR EAST THE STONE AGE By M. A. Kiriyak (Dikova) Translated by Richard L. Bland Q. to UBLIC DOCUMENTS : "ORYITEM 1 | < D •!» MAR 1 3 2009 O CLEMSON O LIBRARY Shared Beringian Heritage Program Twelve to fifteen thousand years ago, Asia and North America were oncejoined by a massive "land bridge" in a region now popularly called "Beringia." In order to promote the conservation of the unique natural history and cultural heritage ofthis region, the presidents ofthe United States and the Soviet Union (now Russia) endorsed in 1990 a proposal to establish of an international park in the Bering Strait area. The Shared Beringian Heritage Program ofthe National Park Service, established in 1991, thus recognizes and celebrates the contemporary and historic exchange of biological re- sources and cultural heritage in this region. The program seeks local resident and international partici- pation in the preservation and understanding ofnatural resources and protected lands, and works to sustain the cultural vitality ofNative peoples in the region. To these ends, the Beringia Program pro- motes the free communication and active cooperation between the people and governments of the United States and Russia with regard to Central Beringia. nPOrPAMMA «OET>E#HHEHHOE HACJIE^HE BEPHHrHH» 12-15 TMCJT4 JieT Ha3a# A3hh h CeBepHaa AMepHKa 6bljih CB«3aHbi «cyxonyTHi>rM moctom» b pafioHe, KOTopbm Tenepb Ha3biBaK>T EepHHnra. B 1990 r. npe3H^eHTbi CoBeTCKoro CoKm (HbiHe Pocchji) h CoeziHHeHHbrx IllTaTOB nozuracajiH corjiameHHe o HaMepeHHH C03^aTb MeayryHapozrHbiH napic b panoHe BepHHroBa npojiHBa c nejibio coxpaHeHna yHHKajibHOH HdopHH, npHpozibi h KyjibTypHoro Hacne^Ha 3Toro panoHa. FIporpaMMa «06be^HHeHHoe HacjieztHe BepHHrHH» Crcy)K6bi HauHOHanbHbix napxoB CIIIA, opramnoBaHHaa b 1991 r. OTMenaeT h npH3HaeT coBpeMeHHbifi o6mch 6HOJiornHecKHMH pecypcaMH h KyjibTypHbiM HacnezmeM 3Toro perHOHa. LJ,ejib nporpaMMbi - BOBJienb MecTHbix >KHTejieH h MOK^yHapo/mbix ynacTHHKOB b aeno coxpaHeHHH npnpoaHbix pecypcoB h oxpamieMbix TeppHTopHH, a TaiOKe b pa6oTy no nozmepacaHHio 5KH3Hecnoco6HOCTH KyjibTypbi KopeHHbix Hapo^OB 3Toro panoHa. rioMHMO 3Toro, Ha3BaHHaa nporpaMMa co^eHCTByeT CBo6oziHOMy o6meHHK> h aKTHBHOMy coTpy^HHHecTBy MOK^y Hapo^aMH H npaBHTejlbCTBaMH Pocchh H CI1JA no BonpocaM, KacaiomHMCH EepHHrHH. © The Russian text ofDrevnee iskusstvo SeveraDal'nego Vostoka kak istoricheskii istochnik (Kamennyi vek) by Margarita Aleksandrovna Kiriyak (Dikova) (Magadan: SV KNII SO RAN, 2003) was translated into English by Richard L. Bland ofthe Museum ofNatural and Cultural History, Uni- versity ofOregon, Eugene, OR 97403, and published by the U.S. Department ofInterior, National Park Service, Shared Beringian Heritage Program, Anchorage, Alaska, by one-time permission ofthe author. August 2007. Forsalebythe SuperintendentofDocuments. U.S.GovernmentPrimingOffice Internet:bookstore.gpo.go\ Phone: tolltree(866)512 1800; DCarea(202)512-1800 Fax:(202)512-2104Mail:StopDDCC, Washington,DC20402-0001 ISBN 978-0-16-082222-3 . Ill Table of Contents Translator's Introduction v Preface vi PART SMALL STONE ART FORMS 1. 1 Introduction 2 Historiographic Outline 5 Chapter I. Small Stone Art Forms in Archaeological Assemblages 10 1. A Short Cultural-Chronological Description ofArchaeological Assemblages 10 Upper Paleolithic 10 Relict Paleolithic, Mesolithic 12 Neolithic and Paleo-Metal 14 2. Classification and Description ofRepresentational Resources 43 Anthropomorphic Sculpture 60 Zoomorphic Sculpture 66 Symbolic Images 77 Unidentified Figurines 78 3. Technical Characteristics ofSmall Stone Art Forms 80 Chapter II. The Interpretation ofSculpted Images 86 1 The Place ofSmall Sculpture ofthe Northern Far East in the Portable Art ofNorthern Eurasia (Archaeological Resources) 86 Anthropomorphic Images 86 Zoomorphic Sculpture 96 Symbolic Images 109 Unidentified Figurines 114 2. The Role ofSmall Art Forms in Religious Ceremonial Practice ofthe Peoples ofNorthern Eurasia (Ethnographic Sources, Myths, and Folklore) 115 Anthropomorphic Images 115 Zoomorphic Images 127 Astral Symbols (Moon, Sun, Stars) 138 3. On the Question ofSemantics in the Small Art ofthe Stone Age ofthe Northern Far East 141 IV PART GRAPHICS ON STONE (SMALL FORMS) 163 II. Introduction 164 Toward Stating the Problem: Graffiti as an Object ofResearch 165 Chapter I. Description ofArchaeological Sources. Cultural-Historical Parallels 169 Chapter II. Interpretations (Themes, Subjects, Semantics) 213 Cosmological Ideas in the Subjects ofthe Graffiti 213 Phallic Symbolism in Late Neolithic Graphics on Stone 224 The Tree in Subjects ofLate Neolithic Graphics 227 Mushrooms in the Subjects ofWestern Chukotkan Late Neolithic Graphics 231 Symbolism 235 Functional Use ofAmanitas 236 PART PEGTYMEL' PETROGLYPHS 239 III. History ofthe Discovery and Study ofthe PegtymeF Petroglyphs 240 — Chapter I. Petroglyphs ofPegtymel' A Unique Site ofMonumental Art 245 1. Description ofthe Pegtymel' Petroglyphs 245 2. The Question ofDating the Petroglyphs 250 3. The Place ofthe Pegtymel' Petroglyphs in the RockArt ofNorthern Eurasia....253 Chapter II. Pegtymel' Petroglyphs as an Ethnocultural Resource 256 Literature 265 Abbreviations 311 Translator's Introduction This book was originally published as Drevnee iskusstvo Severa Dal'nego Vostoka kak is- toricheskii istochnik (Kamennyi vek) in Magadan by the Northeastern Interdisciplinary Scientific Re- search Institute ofthe Siberian Division ofthe Russian Academy ofSciences. Very few books devoted to the prehistoric art ofNortheast Asia have been published (perhaps none) in any language. While this book contains some ideas that may not be universally accepted I feel it is nevertheless an important ground-breaking work and have therefore tried to abstain from editorial comment, allowing the author to venture where she may and draw her own conclusions. The format of this translation retains that of the original publication for ease of reference. The illustrations identified as "insets" are in color in the original. Although color is not an option available here the insets are nevertheless included in the hope that certain details can be seen that are not visible in the sketches. I would like to thank the following: Karen Workman for graciously and diligently going through the manuscript and commenting on various aspects regarding the art, Anna Gokhman who found and cor- rected my lapses in Russian, Marcia Veach for a finejob ofediting, Sue Roberts for putting the work to- gether in its excellent final form, and Julia Knowles for proofreading the final product. I am most indebted, ofcourse, to the people ofthe Shared Beringian Heritage Program ofthe National Park Service in Anchorage, Alaska, who make this publication possible: Katerina Wessels for her tireless efforts in keeping me up to date and in line with the program, Peter Richter who manages the program, and Robert Greenwood, the director. Finally, we all owe our deepest gratitude to Dr. Margarita Aleksandrovna (Dik- ova) Kiriyak for making this workpossible and allowing it to be published in translation. Richard L. Bland Museum ofNatural and Cultural History University ofOregon, Eugene — VI Preface The earliest objects of fine art reliably documented by archaeology confirm that beginning in the Upper Paleolithic people created a two- and three-dimensional world ofimages, those from existing real- ity and those born oftheir creative imagination. Disengaging themselves from their surrounding reality, they knew how to model physical nature in the form ofsymbols and to encode everyday information, as well as world and religious views, in simple or complex signs. This multifaceted stratum ofspiritual cul- ture in early society has always attracted the attention ofscholars ofvarious disciplines. The object ofthis research is the representational activity ofthe primitive inhabitants ofthe Arctic and Subarctic latitudes ofthe Northern Far East. This is the first summary work ofa regional scale that includes all presently known primary sources of early art (from the Paleolithic to the Paleo-Metal pe- riod).1 In the three parts ofthis work published but little known materials are examined alongside com- pletely new data. In the first part, small stone sculpture is presented. The second part sets out all presently known miniature graffiti on stone, with a separate chapter dedicated to deciphering it. The third part includes analysis of the petroglyphs of Pegtymel', a unique feature of early Northeast Asian cultures. New ap- proaches are proposed for dating and interpretation ofthe Pegtymef cliffdrawings. The regional boundaries forthis investigation embrace the Magadan and Kamchatk—a Districts and the Chukotka and Koryak Autonomous Regions, where small Russian ethnic groups live the Chukchi, — Koryak, Even, Itel'men, Yukagir, and Yakut who continue to preserve some archaic features oftheir traditional culture up to present times. However, many features have faded with time, are lost and gone forever from their cultural heritage. The study ofearly art objects created by distant ancestors provides the possibility ofgetting in touch with the secret world oftheir spiritual culture, ofopening a little the window on the remote realm ofideas and concepts, with their roots extending back into the Stone Age. From this standpoint this work will be ofvalue not only to archaeologists but also to historians, ethnog- raphers, artists, psychologists, and researchers who are occupied with the study ofearly forms ofsocial awareness. The basis for this monograph is informational resources acquired predominantly by the author throughout many years ofarchaeological surveys and excavations in Chukotka. This is especially true for Part II. The materials ofother researchers who have studied the early cultures ofNortheast Asia are also drawn in, as are individual objects donated by various people. I consider it my duty to express my gratitude to archaeologists A. I. Lebedintsev and A. A. Orekhov for providing me the opportunity to become acquainted with their collections. This summary ofrepresentative informational sources is the result ofa great deal ofwork and the direct participation ofmany people, to whom I express sincere gratitude. I am deeply thankful to the director ofthe Magadan District Regional Museum, S. G. Bekarevich, who secured financial support for my trip to Chukotka, which allowed me to conduct systematic surveys and excavations. I thank Zh. V. Andreeva, D. L. Brodyanskii, and A. V. Tabarev, without whose moral support I would not have had the resolve to do a summary work on such a specific and controversial subject as (stone) small art forms ofthe Neolithic. Sincere acknowledgements also go to V. E. Larichev, Ya. A. Sher, N. I. Drozdov, and Yu. B. Serikov for comments and advice. The Paleo-Metal period includesthe Bronzeand Iron Ages. Trans. Vll My special thanks for distinguished professionalism goes to the artist L. N. Korshkova, who exe- cuted the detailed illustrations, and photographer V. I. Sviridov, whose artistic mastery permitted repro- ductions ofeven microscopically small details. I am thankful with all my heart to M. K. Sviridova, L. N. Khakhovskaya, S. V. Vasil'ev, T. A. Chemshit, and D. V. Inanto fortheir efficient technical help. And heartfelt gratitude goes to editor Tat'yana Alekseevna Fokas for her substantial talent, pro- found sense oftact, patience, and kindness. Finally, my deep gratitude goes to the head of administration at Omolon village, Kulik Nikolai Ivanovich, for financial support ofthe present publication. — VIII Figure 1. Mapoflocations ofpieces ofearlyart in the territories ofextremeNortheastAsia. Key: — 1—Pegtymel'petroglyphs; 2 locations ofpieces ofearlyart; 3— —graffiti; 4 sculpture ofa "stonehead"; 5— figurines ofstone. Si—tes: 1—Pegtymel'petroglyphs; 2 LateNeolithic Igel'khveem VIIsite; — 3—LateNeolithic Chuvaigytkhyn IIsite; 4—RemnantNeolithic Utaatap Isite; 5—UpperPaleolithic Ul'khum Isite; 6—GekaIsite; 7—Neolithic site on Osinovaya Spit; 8—Ust'-Krasnenskayasite; 9 —Neolithic Chikaevskayasite; 10 Ust'-Belaya (Neolithic) cemetery; — 11—Neolithicsites on Lake El'gygytgyn; 12—diachronicsites onLake Tytyl'; 13—latePleistocene-earlyHolocene(?) Tytyl'vaam site; 14—LateNeolithicRauchuvagytgyn Isite; 15—UpperPaleolithicBol'shoiEl'gakhchan IandBol'shoi El'gakhchan 11sites; 16 latePleistocene(?)-earlyHoloceneDruchak-Vetrennyisite; 17—earlyHolocene Uisite; 18—NeolithicPridorozhnayasite; 19—Paleolithic Siberdiksite; 20—Ol'skayasite (transitionfrom theNeolithic to the Paleo-Metalperiod); 21—Berezovayasite; 22—site onNedorazumeniyaIsland; 23—LateNeolithicsite in TokarevaBay; 24—site on Spafar'evaIsland(transitionfrom theNeolithic to thePaleo-Metalperiod); 25—UpperPaleolithic UshkiIand UshkiIIsites; 26—multi-componentZhupanovo site; 27—NeolithicKopyto IIsite; 28—Neolithicsite in the vicinity ofAvacha Bay; 29—NeolithicLopatka IIIsite; 30—Ust'-Uimyveem site (RemnantNeolithic?); 31 LateNeolithicIlirneigytgyn Vsite.