CC BY
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Section 6. Theory and history of art
Ignatova Anna Mikhailovna, Perm National Research polytechnical university, Senior researcher, Ph. D Chernih Mikhail Mikhailovich, Izjevskiy state technical university by M. T. Kalachnikov, Head of department, Ph. D, Prof. E-mail: iampstu@gmail.com
The brief review of semiotics, semantics and pragmatics of Perm animal style in Russian and foreign publications
Abstract: Perm animal style is a kind of biomorphism in the art of Kama region’s peoples. The phenomenon of Perm animal style is connected with other kinds of animal style and has an influence on contemporary art, and therefore attracts the interest of Russian and foreign experts. The objective of this research is to make a review of some historical, archeological, cultural and artistic publications of Russian and foreign authors, adverting to the analysis of semiotic system, common outlook and the role of animal style in the formation of Kama region biomorphism’s identity.
Keywords: biomorphism, Perm animal style, Finno-Ugric culture, ethno-futurism.
The preservation of local and national figurative systems is the essential condition of their oblivion prevention, especially in the modern conditions of world culture development, which has globalization and urbanistic character. Such ethnic figurative systems are connected with nature in a more balanced way, as compared to the modern trends, grown out of cultural symbols convergence. It means that they are national and authentic patterns which can contribute to the creation of videoecological cultural environment in the modern world and provide ideal conditions for our country identity in the framework of multipolar cultural world. Except for the global self-identity, the issue of inner identity is one of the most acute in the modern Russian society.
The modern Russian state includes dozens of areas, each having the unique history. Despite the growing tempo of globalization, the “Mental borders” of these territories are vividly seen both, in people’s perception and in the administrative state division. Strange as it may seem, near-the -folk data about the territory of settlement cause more interest among all the layers of the society, than medieval and new age history. For example, in Perm Krai, Komi Republic, Republic of Udmurtiya and in other neighbouring Ural areas the issue of initial national identity and the awareness of connection with other native peoples sounds more than acute. Various youth and cultural projects and associations prove that point. For instance, KAMWA, the association of Finno-Ugric youth etc, the growth of interest to native language learning.
Speaking about material culture, folk and applied arts in connection with the Perm Krai area, the creation of decorative articles - “decorative metal works” - is the
closest and the most comprehensible form of the environment’s aesthetic vision. Decorative metal works have always been present in the routine and spiritual life of the Ural man [4]. The beginnings of Ural’s artistic metal works essentially correspond to such phenomenon as “Perm animal style”. The vast collections of Perm animal style articles are assembled in Perm Krai and Komi Republic museums. Besides, the archeological findings, corresponding to this flow, are presented in the collections of the Hermitage and the number of Moscow and Scandinavian museums.
Certainly, Perm animal style is not the only example of early biomorphic syncretism in the world culture. It also existed as the element of development in Scythian, Finnish and ancient Greek cultures [5]. However, it is exactly Perm animal style which has the number of unique traits with the meanings still difficult for interpretation, as it was developed in the conditions of partial ethnicism. The interest to its articles semantics’ study has both philosophic-cultural and purely historic-archeological grounds. Therefore the study of Perm animal style as a simultaneous illustration of history and material culture is always placed at the turn of several scientific spheres. This style’s semiotics, semantics and pragmatics are equally important for its understanding. The study of perm animal style from such point of view undoubtedly contributes to the enrichment of contemporary local and world culture.
The objective of this research is to make a review of some historical, archeological, cultural and artistic publications of Russian and foreign authors, adverting to the analysis of semiotic system, common outlook and
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The brief review of semiotics, semantics and pragmatics of Perm animal style in Russian and foreign publications
the role of animal style in the formation of Kama region biomorphism’s identity.
The first most significant foreign works on Perm animal style belong to the pen of Finnish researchers Aspelin J. R. and Tallgren A. M. These studies were published in the nearly same time at the end of the 18th century together with the works of the Russian archeologist Spitsyn A. A. [7]. For some time the researchers’ points of view on the general things coincided, for example on the age of findings, the most ancient of which they mark with the period of 600-200 B. C. and point out that many other findings relate to the later period of about I-IV A. C. However, the scientists’ viewpoints on the interpretation of the finding’s origins and functions differed. The basis for disagreement was not only in the opposition of Russian and Finnish interpretations, but also the definite opposition in the views between Aspelin J. R. and Tallgren A. M. This conflict is precisely described in the work of the contemporary author Timo Salmenin (Timo Salmenin — The ural-altaic bronze age as seen byJ. R. Aspelin and A. M. Tallgren) [8]. He pays attention to the fact that Aspelin J. R. had been looking for the answer to the question about the background of the Finnish and their historical migration, but Tall-gren A. M. was more interested particularly in the finding’s archeological estimation, he hadn’t been initially seeking for their connection with the Finnish historical background.
The major works, trying to pioneer fully presenting the Perm animal style artistic analysis are the ones by Syropyatov A. “The reflection of the monstrous style in the architecture of Perm Krai peasant buildings" [9] and by Edding D. N. “The carved sculpture of the Urals. From the history of Perm animal style” [10]. Their studies are still quoted by modern researchers.
For example, the English author Dagny Carter (Olsen) adverts to the abovementioned and other key researches in his work “The symbol ofthe beast: the animalstyle art of Eurasia” [11]. Perm animal style is viewed there rather as a part of universal historical development, and takes a separate chapter in the monograph. At the beginning of the chapter the author follows the commonness of Perm and Scythian animal styles and points out that the perm one has less “ornamentality”. Still, he interprets this trait not from the point ofview of technological peculiarities, but from the point of view of the difference between ancient peoples’ outlooks. We can most vividly observe the stylistic difference between Perm and Scythian animal styles in the works of Kantorovytch A. R. [12-13]. The terms “zoomorphic
transformation” and “zoomorphic rebus” appear in this work for the first time. The author distinguishes the techniques of “overlay” and “transformation” in the formation of the metal works subjects, belonging to different trends of animal style. Particularly the technique of “overlay” corresponds to Perm animal style both: in zoomorphic and anthropomorphic subjects.
This stylistic peculiarity, disclosed in the works of Kantorovytch, gives us the opportunity to learn about the origins of some archeological findings accomplished in Perm animal style. It is known that many subjects evolved to some extent. For instance, the later works had a more complicated semiotics and polysemy as compared to earlier works. Nevertheless the most articles look like flat plates with one “show” surface. However, there are some artifacts explicitly presenting the Scythian symbolism and artistic traits among them. This feature is mentioned in the works of Dominyak A. V. (14-16), where he points to the obviously Eastern motives in the form “Bird-dog” (to be more exact in its tubular threedimensional decorative elements) and the particular imitation of them in Perm style ornaments. This discovery would have helped to determine, whether the findings were exchanged or created by local craftsmen. However, a more scaling comparative analysis (which is the most common way in such situations) should be carried out to give the exact answer.
Certainly, the abovementioned scientists used such an established method as semantically-hermeneutic analysis.
The most common semantic interpretation of Perm animal style is the one of “cultic casting”.
It goes without saying that the items of such kind have a religious meaning, but not the practical one in the first place. But the exact detail of such semiotic interpretation causes debates between the researchers.
From the point of view of the author, the position taken by Rayevsky D. S. [17] is the most attractive one. He singles out that the system of tropes shown within the frame of Perm animal style is ‘the visual equivalent’ of a verbal text.
According to the author’s opinion, biomorphism, being the initial element of esthetics [18], can be the first means of preservation and perception of the world from the point of view of syncretism, which is the characteristic trait of this social development level. It can be the first attempt to systemize the chaotic knowledge about the world. Perm animal style is supposed to be the aggregation of written language, sculpture and art, from the point of view of Rayevsky D. S., although it may sound paradoxical. Perhaps, Perm animal style is the clear proof
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Section 6. Theory and history of art
of chaos theory, with the reference to culturology. A man, ignorant from the point of view of art, copied the voluminous image into the pseudo- voluminous, neglecting the perspective and building up the composition, following the principle of image dissection, at the same time describing and depicting the world.
As for the meaning and the function of the artifacts, they are interpreted from the point of view of shaman culture and totemic religious outlook. The findings with repeated elements (fig. 1) are supposed to be used in sacral ceremonies. Karter D. treats such elements as a special ornament, molding. However, Kantorovytch A. R. points
out, that the findings’ semiotics is not the consequence of gradual ornamentalization and stylization. The methods of multiple overlay, repetition or transformation are presented on the initial stage of the aesthetic development.
At the same time the researchers are convinced, that the peoples, who created the artifacts, were the part of the developed Northern civilization with commodityexchange relationships, and some of the findings might play the role of the elements of such kind of relationships.
Karter D. [11] also resorts to the fact that the articles with uniaxial compositional symmetry existed too, along with the decorative and relatively voluminous items (fig. 2).
Fig.1. Ornamented findings
Fig. 2. Findings with symmetrical composition
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The brief review of semiotics, semantics and pragmatics of Perm animal style in Russian and foreign publications
As it is seen by the author of this work, the role of symmetry in compositional construction is not fully disclosed by the scientists. The presence or the absence of symmetry, the number of its axes, rhythm and other plot’s constructional peculiarities may have not only different sacral meanings, but also serve as the indication of the findings’ function, in other words if they were used as money. The articles which were more symmetrical, might be the prototype of cash means, and the ones with the advanced plot and the vivid animal-like semantic core might have a cultic nature.
The interpretation of animal style as the cultic casting in shaman ceremonies acquired strong basis in the works of Russian researchers as well [3-14]. The grounds of such interpretation lay in the place of items’ finding-mainly the burial sites, and the presence of inlets, which are supposed to be used for attaching to the clothes. Though, Oborin V. A. [13] mentions that initially the findings had a chance character, and sometimes the place of their discovery was unknown, since they were transferred to researchers’ hands from private collections.
Besides, the semantic definition of Perm animal style through mythological interpretation exists. For example, this approach is described in the works of Anuchin D. N. [19]. The linking of Perm animal style and the mythological people “Chud” became one of the main theses in all the further interpretations of animal style by Russian and especially Ural scientists. The etymology of the word ‘chud’ was chiefly based on the materials of the Russian language, while Chesnokova N. N. [20] tried to define the origins of this word following the peculiarities of the Komi language and their mythology. The juxtaposition of Perm animal style and Finno-Ugric mythology is represented in the works of Charnolusky V. V., Gribova L. S., Sidorov A. S. and others [23-25]. The fact of their interconnection is proved by the presence of the similar images of Moose, Bear and Bird (sometimes Duck or something alike).
However, such mythological interpretation hasn’t brought the clarity to the understanding of Perm animal style semantics and semiotics, but only heated the debates between the researchers supporting different viewpoints.
The magic interpretation occurs to be more pragmatic and logical than the mythological one. Baulo A. V. [26] resorts to the bronze casting of Khanty and Mansi peoples and carries out the extensive studies, which result in his discovery of cultic casting items being family mascots. They are kept in sacred barns and chests, they are wrapped into tiny tissue “jackets” and “shirts”, and many articles of ancient artifacts are still present in rites, since
they were handed down through generations to their present owners.
The magic application of the findings seems to be logical because it explains their miniature form, the presence of inlets used for attaching to clothes and the use of the material. There are no golden, but only bronze items among Perm findings, after all. Their composition corresponds to the Swedish bronzes, according to other studies [27-28].
Fig. 3. V A. C. finding, causing the debates in the subject interpretation
The Finnish researcher Eero Autio [29] brought the particular impact on the semantics and semiotics of Perm animal style. He claimed that the reference to shamanism is not completely reliable and gives the main arguments to support the idea that Perm animal style articles have a rather totemic nature. Many scientists adhere to this point of view. Moreover, Eero Autio expresses his relatively critical opinion on the early soviet period in the study of Perm animal style. He points to the fact that Russian soviet researchers didn’t place enough emphasis neither on the version of the developed northern civilization to which the native peoples belonged, nor to the role of Finnish peoples migration in the formation of the style. Besides, according to Autio’s opinion, soviet scientists often adverted to the contiguity of peoples’ faces and the first images of wooden Christian Ural sculpture to criticize the religion on the whole, and the shamanism was the best opportunity to reach this goal [30].
Besides, the works of this author are also valuable in their revealed conflict between the male and the female perception of Perm animal style findings. In particular, he resorts to the discussion between Charnolusky V. V. [24]
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Section 6. Theory and history of art
and Gribova L. S. [23]. The first scientist suggests that the subject of the finding in fig.3 follows the intertribal struggle and in this way shows the “aggressiveness” of Scythian style. But Gribova objects to such a vision and tells that this plot is closer to a woman, since the items were found having the function of a female costume molding, therefore the plot narrates about love, maternity and matrimony.
However, the only point on which practically all the scientists unanimously agree interpreting the plots of findings is the tracing of the image of the “World Tree”, in such items as shown in fig. 4.
Fig. 4. Archeological finding VI-VII A. C.
The most original approach to its interpretation, in our opinion, is the one which was discovered by the Finnish researcher after the correlation of his data with the works of Frolov V. [31]. It is based on the numbers, which mark the quantity of repeated compositional elements. The analysis of plenty of articles shows that the most typical rhythm in the repetition is connected with the numbers 4, 7 and 10, which are associated with the feminine and the machismo. This idea was further developed by Shutova N. and suggested interpreting such items as depicted in fig. 5 through the numbers associated with biological periods in a woman’s life (period of pregnancy etc). Such feministic trend in interpretation is quite common for Finnish research works. Many of them draw up a supposition about matriarchy in those societies. This point of view is based on the archeological data, which tell us that Sarmatian tribes worshipped to high female priestess. The distinguishing feature of such worship was the concentration of burials around progenitress, which speaks about her significant role in the family. The data about some Sarmatian women being warriors, in particular, archers, are also verified. The research of Grakov B. N. [32] adduces as a proof the fact that there were burial mounds in which some sarmatian women were found buried armed, sometimes with their
horses and even human tolls. Their bodies were also accompanied with beads, bracelets and other dressings along with the swards, arrow heads, spears, stone plates — altars with the legs in the form of animal heads (one of such plates is kept in Novocherkassk museum).
Fig. 5. Archeological finding VI-VII A. C.
In our opinion, in opinion of some Russian researchers, the number of compositional elements is a prototype of a calendar [25]. The number of elements and numerical symbolism can be further evolved in heraldry and numismatics, in our viewpoint, since the contemporary heraldry actively resorts to folklore images (fig. 6). Moreover, the favourite subject of the many-headed bird has something in common with the double eagle.
Animal images and biomorphism haven’t disappeared from the culture, but were rather transformed. For example, Rozhdestvenskaya S. B. [33] summarizes the experience of folk art in home decoration, including the usage of decorative casting, and comes to the conclusion that art reflects the patriarchal structure of peasant life. Russian craftsmen engaged into decorative metal works creation (as a rule, metal notching) produce peaceful images of carnivores, which is not characteristic of other ethnos, and stylistic peculiarities convey the state of rest. They are such as follow: the proportions of the animal and mythological bodies are prolonged, the outlining is smooth, the conversion of a tail into twining plants and flowers (“blooming tails”) is often met. The image of the sun takes the most significant position: it is placed in the pediment of a house or a porch, in the clypeus, windows and doors, functioning as protection from evil spirits.
The images and motives of Perm animal style were transferred into the original and new flow in the contemporary fine art — “ethnofuturism” at the end of the XX century. The most notable representatives of this trend are: Yuri Lesovsky, Pavel Mikushev, Vasiliy Ignatov, Natalya Golovkina [34]. The distinguishing feature of this style is the method of the voluminous image dissection onto the flat surface.
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The brief review of semiotics, semantics and pragmatics of Perm animal style in Russian and foreign publications
Fig. 6. Usage of animal style in heraldry: a) — coat of arms of Komi Republic; b) — coat of arms of Altai Republic; c) — coat of arms of Dagestan Republic; d) — coat of arms of Severnaya Osetiya Republic; e) — coat of arms of Tyva Republic; f) — coat of arms of Udmurtiya Republic
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Section 6. Theory and history of art
The influence of Shamanism and totemism on the modern art is reviewed in the work by Peg Weiss “Kandinsky and Old Russia. The Artist as Ethnographer and Shaman" [35] and in the Russian review of this monograph by the artist Valery Shablin [36].
Along with many aspects of Kandinsky’s life, his experience in the sphere of ethnography is also reviewed. From his memories: “... I had a double objective: to study the peasant usual rights and gather the data on the remains of pagan culture among fishermen and hunters of the slowly disappearing Zyryan people”. Kandinsky was fond of ethnographic studies on the traditions of Voguls and Komi-Zyryans, who are the closest to the native Ural peoples. He visited the sacral places of these peoples many times.
Fig. 7. Finding depicting the many-headed bird VN-NX A. C.
The pagan perception of the universe was the object and the source of inspiration, and the stylistics and image system was influenced by the impressions from “shaman travelling”. Following the steps of archaic and aboriginal syncretic artists, Kandinsky creates original hieroglyphic signs to depict the most significant archetypical symbols and characters — the sun, a flash of lightning, water, a boat, a horse and a rider, a snake a bird, a bee etc.
Shablin says: “... the founder of abstract art, which seemed to be «the trendy invention» of the XX century, turns to be the messenger and the guide existentional-ly inevitable return to the authentic beginnings of human culture at a closer look”.
Nilolay Rerikh also took an interest in Perm animal style and he correlated it with Tibetan art [37].
Modern artists, not only the Kandinsky’s genre followers, but also ethnofutuists, who, evidently, were raised on this ground, adopt the images of Perm animal
style and embody them in their works rather extensively. Zomorphic subjects required the most popularity. The graphical works of Pavel Mikushev can be a good example of it (fig. 8, 9). Sometimes the artists try to tell the story of the past in their modern language, but sometimes their modern stories — in the language of the past, as it is made in the painting “Sorry, Father Bear”. The respect to this animal, as to the forefather, is still preserved in the circles of modern Komi hunters. Such attitude is visible in their naming a bear as solely “the Master of the forest” or “Father”; when they kill a bear they ask for forgiveness pronouncing the proverb, which word for word means: “I’m sorry, father Bear, it’s not me, who killed you, it’s Russian gun”.
Fig. 8. Pavel Mikushev “Sky race”
Fig. 9. Pavel Mikushev “Sorry, Father Bear”
Such totemic animals as horses, bears and deer are portrayed with a small artistic change in the jewelry of Perm masters (fig. 10). Visual images are beautifully intervened with the ornaments of designers’ clothes collections (fig. 11).
The plots of ethnofuturistic works have multiple meanings, that is why we can encounter contemporary works based on the number of images; for example the ones by Kutergin A. A., which unite three basic images ofthe Finno-Ugric culture: a bird, a bear and a pangolin, creating the composition of the candlestick (fig. 12, 13) [38-43].
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The brief review of semiotics, semantics and pragmatics of Perm animal style in Russian and foreign publications
Fig. 10. Perm animal style in the works of modern jewelers
Fig. 11. Items of collection by the designer Elena Karpova for the ethnofuturistic festival “KAMWA”
Fig.12. Stone casting work “Perm Phoenix” Fig. 13. Stone casting work “Fight and search”
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Section 6. Theory and history of art
Thus, the phenomenon of Perm animal style has a complicated semiotics and semantics, based on syncretism difficult for interpretation. The interest of Russian and foreign researchers and their hypothesis and arguments contribute to this difficulty and mark the significance of Perm animal style as the phenomenon of world culture. This research contributed to the revelation of magical semantics and compound semiotics, reverting both: to verbal and numerical meanings. The style’s pragmatics is observed through the analysis of its presence in the contemporary academic and folk culture.
The practical significance of this work is disclosed in the aggregation of interpretational works from different spheres of knowledge about Perm animal style. This research can be used as a literary review and as a basis of Perm animal style artistic analysis within the frames of contemporary and ancient art.
The present review illustrates the issue of the extent, Perm animal style is examined to on the basic points. The perspective of the present research, as it is viewed by the author, is the disclosure of each mentioned research guidelines in individual works.
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