SEMANTICS OF ANCIENT EGYPTIAN WSḪ AND UKRAINIAN BEAD JEWELLERY
DOI:
https://doi.org/10.32782/uad.2022.2.4Keywords:
semantics, Ukrainian bead jewelry, ancient Egyptian wide collar, decorative and applied art, solar cult, sacred meaning.Abstract
Abstract. Within the framework of the article, common and different are thoroughly investigated for the first time semantics of Ukrainian beaded jewellery (silyanok, gerdaniv, kryz) and the ancient Egyptian wide collar wsḫ, which paradoxically repeat the form and compositional techniques due to the importance in both highly developed cultures of the solar cult. Objects illustrated by the artist Svitlana Nismeiko from the funds of The Metropolitan Museum of Art and the Lviv Museum of the History of Religion were involved. Unrelated religious ideas of Christians, including Ukrainians, and supporters of numerous deities, in this case the ancient Egyptians, due to different chronological boundaries and historical events, still contain related ethical and moral concepts. Christianity and ancient Egyptian religious practice are interconnected due to the influence of the latter, which the author of the article proves with the help of artistic and stylistic and comparative research methods on the example of works of decorative and applied art, produced in different natural and climatic conditions, and, accordingly, different socio-economic structures and atypical for both, the perception of the environment, which affects the complex aesthetic perception of reality and turns into a tradition, an idea of the beautiful, faith. Jewelry is a universal way to combine religion and aesthetics, present in the civilization of the Nile Valley and until now in independent Ukraine. On the basis of works written by specialists in the field of Egyptology and Ukrainian studies, a method of conveying sacred content in products with geometric and plant ornaments has been established. The insufficient amount of information for conducting scientific research is compensated by parallelism and differentiation of artistic features, leveling the gaps in both fields. The results can be used to study cultures with solar symbols, which include Ukrainian, African, South American, but not limited to the given list. Considering the fact that the topic is almost the first attempt to compare Ukrainian and ancient Egyptian art, the field for discussion remains open.
References
Федорчук О.С. Українські народні прикраси з бісеру. Львів : Свічадо, 2007. С. 10, с. 59–63.
Brovarski, E. (1997). “Old Kingdom Beaded Collars”. In Jacke Phillips with Lanny Bell, Bruce B. Williams, James Hoch and Ronald J. Leprohon (eds.) Ancient Egypt, the Aegean, and the Near East. Studies in Honour of Martha Rhoads Bell, Volume 1. San Antonio : Van Siclen Books, p. 142.
Wilkinson, Richard. H. (2003). The Complete Gods and Goddesses of Ancient Egypt. London : Thames & Hundson, pp. 55–56.
Історія декоративного мистецтва України : в 5 т. / НАН України. ІМФЕ ім. М. Рильського; голов. ред. Г. Скрипник. Київ, 2011. Т. 3: Мистецтво другої половини XVI–XVIII століття. С. 84–85.
Український народний одяг / ред. : П. Одарченко, Г. Царинник. Toronto; Philadelphia : Світова Федерація Українських Жіночих Організацій, Комісія народного мистецтва, 1992. С. 193–201.
Вовк Х.К. Студії з української етнографії та антропології. Київ : Мистецтво, 1995. С. 129–130.
Декоративно-прикладне мистецтво / Є.А. Антонович та ін. ; за ред. Т. О. Головіна . Львів : Світ, 1993. С. 48–63.
Кусайкіна Н.Д. Твоя країна – Україна. Енциклопедія українського народознавства / за ред. Р. Дерев’янченко. Харків : Школа, 2009. С. 403.
Мистецтвознавство' 03 : Публікації. Переклади. Панорама подій : наук. зб. / Спілка критиків та істориків мистецтва; Ін-т народознавства НАН України; Гол. ред. М. Станкевич. Львів, 2004. С.151–164.
McConnell, Sophie. (1991). Metropolitan jewelry. New York : The Metropolitan Museum of Art. P. 8–9.
Народні художні промисли УРСР : довідник / відп. ред. Р.В. Захарчук-Чугай. Київ : Наукова думка, 1986. C. 99–102.
Binder, Susanne. (2008). The Gold of Honour in New Kingdom Egypt. Australian Centre for Egyptology: Studies&Oxford : Aris and Phillips. P. 211–232.
Народна творчість та етнологія : № 4 / голов. ред. Г. Скрипник ; НАНУ, ІМФЕ ім. М.Т. Рильського. Київ, 2012. С. 33–45.
Remler, Pat (2006). Egyptian Mythology A to Z, Revised Edition. New York : Facts On File. P. 79.
Maravelia, Alicia. (2019). The Conception of the Cosmic Egg (Swḥt) in the ancient Egyptian and in the Orphic cosmovision," Shodoznavstvo, (83), pp. 25–52. DOI: 10.15407/skhodoznavstvo2019.01.025
Элиаде М. Очерки сравнительного религиоведения. Москва : Ладомир, 1999. С. 127.
Schorsch, Deborah. (2000). “Gold in Ancient Egypt.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. www.metmuseum.org/toah/hd/egold/hd_egold.htm. Retrieved from: http://www.metmuseum.org/toah/hd/egold/hd_egold.htm
Schorsch, Deborah. (2000). “Turquoise in Ancient Egypt.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. www.metmuseum.org/toah/hd/turqe/hd_turqe.htm. Retrieved from: http://www.metmuseum.org/toah/hd/turqe/hd_turqe.htm
Peck, William H. (2013). The Material World of Ancient Egypt. Cambridge University Press. P. 154–156. DOI: 10.1017/CBO9781139034296.005.
Riccardelli, Carolyn. (2000). “Egyptian Faience: Technology and Production.” In Heilbrunn Timeline of Art History. New York : The Metropolitan Museum of Art. www.metmuseum.org/toah/hd/egfc/hd_egfc.htm. Retrieved from http://www.metmuseum.org/toah/hd/egfc/hd_egfc.htm
Maravelia, Alicia, & Guilhou, Nadine. (2020). The Minerals as Divine Epithets: Notes on the Use of Lapis Lazuli in Divine Epithets. Environment and Religion in Ancient and Coptic Egypt: Sensing the Cosmos Through the Eyes of the Divine, (pp. 195–204). Oxford: Archaeopress. DOI: 10.2307/j.ctv24trf4k.18
Faulkner, Raymond O. (1985). The Ancient Egyptian Book of the Dead. London : British Museum Publications. P. 155.
