Kargopol gingerbread cookies 1977
Returning to the monuments of the Bronze Age on the territory of Eastern Europe, I must say that in Trzyniecko-Komarovska; In the ornamental complex, many elements of Tripillya ornamentation are widespread. Thus, on a cult vessel from the village of Pereshchepino, various rhombuses, a meander stripe, a swastika are presented; on ceramics with drawings and signs from Bondarikha there are all kinds of swastika elements, and on items from Vladimirovka rhombuses, swastikas of various shapes, oblique crosses and “jibs” are constantly repeated (Table 6).
S. S. Berezanskaya connects this ornamentation with the ritual, ceremonial side of the life of people of the Bronze Age. She writes: “It is possible that signs placed on them outside the ornamental system (crosses, rosettes, circles, shaded triangles and rhombuses), which were used as various magic symbols, testify to the cult purpose of some vessels”. The researcher notes that on many vessels of the Srubna culture there are signs that are similar in appearance to runes, which have analogues on the obviously cult objects-spinning wheels, “horned spindle wheels” and miniature “vessels” of the Trzhinets, Belogrudov, Milograd and Bondarikha Proto-Slavic cultures. A. A. Formozov connects these signs, among which there are often oblique crosses, swastikas of various configurations, jibs, with the addition of the peoples of these cultures of writing, which arose on a local basis by schematizing the elements of ornament.
Not all researchers agree with such conclusions, but one thing is indisputable; from what we have today, we can nevertheless conclude that in the Slavic Trinecko-Komarov culture the same signs as in Tripoli – meander, rhombus, swastika, jibs – perform the same sacred functions of the sign – amulet or magic spell addressed to gods and spirits. Turning further to the ornamental complexes of the Abashev culture, we can note that here, as in the Tszynets-Komarska culture, and even to an even greater extent, the ornament consists of various meanders, swastikas and jibs. In contrast to the Abashevskaya, in the ornamental complexes of the Srubna culture, the motif of the meander and the intricately drawn cross is rather rare. The main component of the decoration of the Srubna culture ceramics (16—12 centuries BC according to B. Ch. Grakov) are chains of rhombuses, rhombic meshes and rows of triangles on the shoulders of vessels; the body is often decorated with characteristic oblique crosses, sometimes composed of two overlapping S-shaped forms.
Ornament of archaeological log house culture
The development of ceramics ornamentation, which includes an amazing variety of different variants of meander and spastic motifs, we see among the closest neighbors of the “Srubniks” – the population of the Andronovo cultural community (17—9 century BC according to E. Ye. Kuzmina). Synchronous in time, these two cultures, as noted earlier, coexisted for a long period in very vast territories of the steppe and forest-steppe zones of our country, spreading in the north up to the Komi-Permyatskiy A.O. (middle course of the Kama River) in its Andronovo-Alakul variant.
In the south, the monuments of the Andronov community go to the deserts and semi-deserts of Central Asia and the highlands of the Tien Shan and Pamirs to the oases of Central South Asia and Afghanistan.
