Inocutural Influences as a Factor in Forming Specific Features of the Art of Kyivan Rus: Semantics of the Image of Simargl (Simurg)

Abstract

The purpose of the article is to identify the features of foreign cultural influences on the formation of decorative motifs in the art of Kyivan Rus using the example of Simargl as one of the most common images of Iranian mythology. Research methodology. The historical-cultural method, typological method, comparative analysis method, semantic, art historical, stylistic and compositional analysis method, as well as the method of theoretical generalisation were applied. Scientific novelty. The issues of foreign cultural influences on the formation of decorative motifs in the art of Kyivan Rus were studied; the image of Simurgh in Eastern and Western mythology was considered and the specifics of its interpretation in ancient Rus culture were revealed; the features of the representation of the image of Simargl in archaeological monuments of the 12th–13th centuries were analysed. Conclusions. The influence of Iranian culture and subject-artistic creativity on ancient Russian art and crafts occurred during many periods of the formation and development of folk culture and is directly related to the constant trade, diplomatic and cultural exchange between Kyivan Rus and Iran. The image of the Simurgh in the form of a dog-bird personified the image of the guide of the soul of the deceased to heaven, was the embodiment of the god-patron of the three elements, who lived on the sacred tree, protecting it and ensuring the fertilisation of nature, a symbol of the Sassanid dynasties, which ruled in Iran from the 3rd century. to the middle of the 7th century, before its conquest by the Arabs, and in the Islamic mystical tradition in Iranian Sufism symbolised the idea of the Absolute, the transcendent world. Known in the territory of Kyivan Rus from the 6th century BC. the image of a bird-dog was used as a powerful amulet against evil forces. The belonging of Simurgh (according to the ancient Russian tradition – Simargl) to the pantheon of gods of the Vladimir cycle testifies to the connection of motifs common in most types of art with the image of this mystical creature with the heavenly world.

The fabulous mythical half-bird, half-dog, which is the personification of divine power in many myths – was the main source of inspiration for many masters of Kyivan Rus. The popularity of the image of Simargl in the ancient Rus decorative and applied art of the 10th–13th centuries. is evidence of the revival of ancient images of Zoroastrianism, which were integrated into both Muslim and Christian culture. A reflection of archaic folk magical beliefs is the appeal to the image of Simargl in the decoration of bone and metal products of decorative and applied and jewellery art (colts, bracelets, silver bowls, etc.) in order to give them protective properties – winged two-legged dogs in the form of friendly but well-armed monsters with claws and teeth, according to legend, drove away evil spirits and protected the tree of life. The stylisation of the image of Simargl in the ancient Russian artistic tradition occurs in the context of the development of floral ornamentalism.