Elena Starkova

One of the most important problems in studies of the Neolithic and Eneolithic periods in Europe is that of the synchronization of archaeological cultures and particular sites. The timeframes of Pre-Cucuteni/Cucuteni А — Tripolye A/BI have been defined by 14C dating as 5050–4600 and 4600–4100 cal BC. These dates correspond to the Varna and Gumelniţa cultures and have been proved by series of corresponding ceramic imports and imitations. There were no such contacts after this timeframe, probably because of the extinction of the Varna and Gumelniţa cultures. The topical problem concerning the period under consideration is that of synchronization of these cultures with finds from the Middle-Danubian and West-Balkan sites. The hypothesis about Tiszapolgár influences upon Cucuteni А — Tripolye BI ceramics has not been confirmed by facts. On the contrary, a series of specific ornaments on the pottery of Tripolye BI/2 — Cucuteni А4 shows an influence of Tisza–Herpály–Csőszhalom cultural group of the Tisza basin (4840/4830–4600/4560 cal BC). Moreover, the interconnection between the Tripolye-Cucuteni and Vinča cultures still remains unclear. Quite a number of questions have been proposed concerning the synchronization of the Middle-Danubian cultures with the later sites of Tripolye BI–BII, BII, CI — Cucuteni A–B, B periods (4100–3800 and 3600–3200 cal BC). Findings of analyses of ceramic imports and their imitations indicate that Tripolye BII settlements of the Upper Dniester and Volhynian Upland are synchronous to the classical phase of the Lublin-Volhynian culture (3900–3800/3700 cal BC) and to the later (Rzeszów) phase of the Malice culture (about 4100/3900 cal BC). Finds of large unornamented vessels with numerous handles along the entire heigh of their bodies among the Tripolye assemblages are considered to be the main evidence on the Tripolye-Cucuteni contacts with the Tiszapolgár and Bodrogkeresztúr cultures (4500–3700 and 3900–3500 cal BC). Meanwhile, pottery of this kind was widespread since the earliest period of the Tripolye-Cucuteni culture and these finds may quite possibly have just been local archaic forms which survived in later assemblages.
Thus, the question of synchronization of the Cucuteni А–В — Tripolye BI–BII period with the cultures mentioned above still remains open. Along with the necessity to search for new evidence allowing us a to establish substantial synchronization between these cultures, the irregular development of local groups of artefacts within the area of Tripolye and specifics of the contacts at the boundaries between different cultures should also be taken into account

In 1911, during the excavation of a Cucuteni-Tripolye settlement near Popudnya, now Cherkasy Region, Ukraine, the Polish archaeologist Marian Himner discovered a unique house model reproducing the interior with two anthropomorphic characters. The model was repeatedly discussed in the archaeological literature. However, an analysis of the find, owned by the National Archaeological Museum in Warsaw, and its parallels, using archival photographs of the early 1900s, kindly provided by Polish colleagues, suggests a different interpretation. The model shows the interior of a typical Tripolye dwelling, similar to the interiors of buildings excavated at the settlements ofTripolye Ell-Cl stage in the Dnieper-Bug interjluve. Contrary to a popular vievt~ there is no "idol" inside. Rather, there are two naturalistically rendered characters, male and female. The woman is grinding grain, and the man is sitting in front of the stove, watching ha The closest three-dimensional "narrative " models come from the Sushkovka and Chichirkozovka settlements, related to the same Tomashovka-Sushkovka local group of sites as Popudnya. This group includes the famous Tripolye giant settlements 300-400 ha in area, with an estimated population of 5-8 thousand. The naturalism of the Popudnya model resembles the naturalistic style of anthropomorphic figurines from settlements of the same group. We suggest that the scene depicted by the model either refers to a specific folkloric or mythological motif or visualizes a benevolent formula relating to the foundations of a household.

In area of Podolsk Upland and Upper Dniester in the second half of V and in the first half of IV millennia BC periodically co-existed the communities of three Eneolithic cultures: Tripolye (stages BII, CI), Malice (late phase) and Lublin-Volhynian (classical phase). For these cultures mentioned area was a peripheral zone of ranges, on which a various mutual relations, manifested in ceramic and flint production, took place.
The most explicit evidences of intercultural relations are manifested in the pottery production, when the technical and stylistic traditions are diffused among culturally different communities, living on the same or neighbouring territories.
To identify the nature of the intercultural relationship, an analysis of selected ceramic collections was carried out, taking into account successive stages of production: raw material selection, ceramic mass preparation, forming vessels along with surface treatment, decorating and firing. We also used petrographic analyzes and chromatography-mass spectrometry to determine the organic components of the ceramic painting of the Tripolye and Lublin-Volhynian cultures.

In 1911, during the excavation of a Cucuteni-Tripolye settlement near Popudnya, now Cherkasy Region, Ukraine, the Polish
archaeologist Marian Himner discovered a unique house model reproducing the interior with two anthropomorphic characters.
The model was repeatedly discussed in the archaeological literature. However, the analysis of the fi nd, owned by the National Archaeological Museum in Warsaw, and its parallels, using archival photographs of the early 1900s, kindly provided by Polish colleagues, suggests a different interpretation. The model shows the interior of a typical Tripolye house, similar to the interiors of buildings excavated at settlements of Tripolye BII–CI stage in the Bug-Dnieper watershed. Contrary to a popular view, there is no “idol” inside. Rather, there are two naturalistically rendered characters, male and female. The woman is grinding grain, and
the man is sitting in front of the stove, watching her. The closest three-dimensional “narrative” models come from Sushkovka and
Chichirkozovka settlements, related to the same “Tomashovka-Sushkovka” local group of sites as Popudnya. This group includes
famous Tripolye giant settlements 300–400 ha in area, with an estimated population of 5–8 thousand. The naturalism of the Popudnya
model resembles the style of anthropomorphic fi gurines from settlements of the same group. We suggest that the scene depicted by the model either refers to a specifi c folkloric or mythological motif or visualizes a benevolent formula relating to household foundation.

Палагута И.В., Старкова Е.Г. Триполье и Степь: к вопросу о динамике культурных взаимосвязей // Внешние и внутренние связи степных (скотоводческих) культур Восточной Европы в энеолите и бронзовом веке (V–II тыс. до н.э.). Круглый стол, посвященный 80-летию со дня рождения С.Н. Братченко (Санкт-Петербург, 14–15 ноября 2016 г.): Материалы. СПб., 2016. С. 52–57

Mexico has an immense cultural patrimony. In this country there exist a lot of prehispanic sites with decorated buildings with mural paintings. Nowadays some mural paintings have being endangered by pollution and weathering conditions; this is the case of murals from Templo Mayor and Cacaxtla. Therefore, we must have knowledge of painting materials and the damages that these could suffer by external agents such as pollution, environmental factors, polymers used in restoration and others. For this reason, we need to obtain information on the properties of the painting materials. Samples of mural paintings of colors such as blue, Red, ochre yellow, white and others from Templo Mayor and Cacaxtla have been characterized by X Ray Dif-fraction (XRD), Scanning Electron Microscopy (SEM) and Transmission Electron Mi-croscopy (TEM), in order to identify elemental composition, mineralogical composition and structure of the pigments and plasters. A comparison among painting materials from these sites was carried out, to find similarities and differences between them, because both belong to central Mexico. We think that an investigation on the elemental composition, mineralogical composition and structure of pigments used to decorate walls could provide interesting clues to understand the mineralogical background, trade and technological advance in prehispanic times. The present research is about painted ornaments of Cucuteni-Tripolye culture in Carpathian-Dnieper region and changes of decoration technique during the middle period of this culture: Tripolye BI, BII and Cucuteni A, A-B, B stages (3650-2800 BC in uncali-brated dates). Decorated pottery typically comprised more than 70% of total ceramics. The origins of polychrome painted ornaments become important innovation in ceramics decoration in the beginning of Tripolye Bl-Cucuteni A stage. Analyses of examples (112) by physical and chemical methods (microscopic examination, micro-chemical and spectral analysis; Laboratory of State Institute of Restoration, Moscow) indicated the utilization of Red, black and white mineral pigments. The presence of organic bindings on the basis of proteins or carbohydrates were revealed. Paintings were applied on the surface of Tripolian pottery after firing. The quality of paints depends on the conservation of sherds in different kinds of soils.

От ремесла к искусству. Керамика: технология, декор, стиль.
Тезисы докладов Международной научно-практической конференции 22–25 мая 2018 года, Санкт-Петербург. Науч. ред. Т.В. Горбунова, И.В. Палагута, Е.Г. Старкова, С.Е. Сухарев. Санкт-Петербург: СПГХПА им. А.Л. Штиглица, 2018. 144 с.
В сборнике представлены тезисы докладов Международной научно-практической конференции «От ремесла к искусству. Керамика: технология, декор, стиль», посвященной проблемам взаимодействия науки и практики, применения результатов научных исследований керамики, проведенных в рамках широкого спектра гуманитарных и естественных наук, в практической деятельности художников в области декоративно-прикладного искусства