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EARLY ART
OF THE
NORTHERN
FAR EAST
THE STONE AGE
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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
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MAR 1 3 2009 O
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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.
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© 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.
