Indo-European ornamental complexes and their analogs in the cultures of Eurasia. S. V. Zharnikova

an ornamental motif is often found in the decor of medieval miniatures of Russia, as evidenced by the materials of V. V. Stasov’s album, for example, the headpiece of the Gospel 1409 of the Pskov work (Table 14), the miniature of the Psalter of the Konevsky Monastery, made in the 14th century in Novgorod (Table.15), a sample of ornaments from Ryazan, Galich, Vologda 14—16th century. In addition, the “viper knot”, which was so characteristic of the Iranian tradition of the mid-to-late 2nd millennium BC, is present in the embroideries of various provinces of Russia until the late 19th and early 20th centuries. It decorates, as the main ornamental motif, a fly of the 17th century, embroidered spacers of the late 19th century in the Tambov and Voronezh provinces and Kirillovsky district of Novgorod province.

      V. I. Sarianidi notes that with the spread of new types of seals, the practice of making anthropomorphic sculptures completely ceases in southern Turkmenistan and the Indus Valley, which indicates changes in the ideological ideas of the local population, and that many authors see new Indo-European tribes in the carriers of the Dzhukar culture Indian subcontinent. This is how R. Heine-Geldern and V. Ferservice identify the Djukarts with the Arias, and G. M. Bongard-Levin believes that: " the emergence of the Djukar reflects the penetration of a small group of tribes associated with Baluchistan into Sindh”. One of the most important proofs of the Aryan invasion is considered the seals from the Chankhu-Daro hill, which are sharply different from the Harappan seals proper and have analogues only in the Indus Valley, Southern Turkmenistan, Northern Afghanistan, Susiana. Of exceptional interest in the light of our problems is the discovery by the Soviet-Afghan expedition (under the leadership of V. I. Sarianidi) in Northwestern Afghanistan, northwest of Balkh, of a monumental complex, defined by V. I. Sarianidi as a “temple city” of the Bronze Age. K. Yettmar suggests that both the circular fortification with nine towers and the surrounding buildings Dashly 3, subordinated to a certain religious idea, were used only during the annual holiday period. He notes that memories of such ritual centers are preserved in both ancient Indian and ancient Iranian texts. In addition, the mythology of Nuristanis (Kafirs of the Hindu Kush) contains indications of the “heavenly castle” where the souls of the dead find shelter. Descriptions of such a castle are in many ways reminiscent of structures in northern Afghanistan. K. Yettmar believes that the analogies of the “temple city” of Dashly 3 in the steppe zone were Koy-Krylgan-Kalu and the Arzhan mound in Tuva. E. V. Antonova, analyzing the layout of the structures of Dashly 3 and Sappalli-Tepe (Southern Uzbekistan) and noting the presence of geometric shapes in their outlines, he writes: “The fact that the planning of structures was given special importance is also evidenced by the amazing closeness of the plans of several buildings of the Late Bronze Age with ornamental motives”. V. I. Sarianidi notes the unusual layout of the so-called “palace” Dashly-3 and considers the T-shaped, extremely narrow corridors, in which it is difficult for even one person to pass, very indicative. “It seems that they had a” false “character, did not carry any functional load, were the architectural and ritual canon that should have been unswervingly present in monumental buildings of this purpose”. We can state that the plan of the “palace” Dashly-3 (Table 16) is traditional, one of the most widespread, along with the swastika, elements of Russian weaving, the so-called. “rhombus with hooks”, the semantics of which is devoted to one of the works of A. K. Ambroz.

      In Dashly-3, the “rhombus with hooks” is supplemented by T-shaped processes on the sides of the rhombus, which are also often found in rhombic compositions of North Russian ornamentation (Table 16). E. V. Antonova notes that the plan for the construction of the central part of Sapalli-Tepe becomes similar to the swastika. But such a swastika also has analogues in weaving and embroidery of the Vologda peasant women of the late 19th and early 20th centuries. As noted earlier, most researchers associate the appearance of ornaments of the Andronovo complex, and in particular, meanders, swastikas, etc., in Central Asia, Afghanistan and Hindustan in the late 2nd – early 1st millennium BC with the advance of the Aryan groups to these territories from the northwest. About how significant these ethnic shifts were, and what a serious change in ideological ideas they brought with them, is evidenced to a large extent by the fact that many of the archaic ornaments brought to Central Asia, Afghanistan, Hindustan by the northern steppe tribes, survived in this region to our time. So M. Ruziev in his work dedicated to Tajik woodcarving, writes, that in the design of the doors and gates of Bukhara, an important role is played by the geometric ornament that took shape in the pre-Muslim period, consisting of zigzags, rhombuses, squares, swastikas. Moreover, he attributes the swastika to the most ancient and stable motives of a geometric pattern. “It is found in various types of decorative arts – tiled decoration, paintings, embroidery, carpets… In Central Asia, this ornamental motif can also be found on knitted Pamir stockings, in carving on tombstones, carving and painting on ganch and wood, and glazed architectural ceramics. The swastika figured in the decoration of the brick floors of ancient Khuttal and on the ganch panels of the palace from Afrasiab (10—11 century).

      Ganch panels of the palace from Afrasiab

      Bukhara carved doors

      On the carved doors of Bukhara dwellings, it often appears not only as an ornamental motive, but the door frame was also constructed from it…”

      Shahi-Zind

      Bibi-Khanum

      It should be remembered that the swastika is present in the decor of Shahi-Zinda (14th century), Bibi-Khanum (14th century), El-Registan (15—17th century) in Samarkand.

      Mausoleum of Khoja Ahmed Yasawi. Turkestan.

      The ancient traditions of Aryan ornamentation were especially stable in the art and architecture of the Pamiris, where they survived to this day, which was facilitated by the disunity and inaccessibility of mountain villages, a patriarchal way of life and the fact that for more than two millennia the population here did not practically change.

      Pamir stockings and socks

      Mezen mittens (Leshukonye village)

      The common origins of both the East Slavic, in particular the North Russian, and the Mountain Tajik (i.e., East Iranian) ornamental tradition are evidenced not only by works of applied art of the late 19th and early 20th centuries, but also by archaeological materials; so, for example, intricately drawn swastikas on a clay carved mazar Mavlono Muhammad-Ali 10—12 century find an analogy in the drawing of a stamp on the bottom of a vessel from the 11th-12th century from Staraya Ryazan.

      As for such archaic, dating back to Andronovo, ornaments on the other side of the Pamirs, on the territory of Hindustan, it