D V Cheremisin
Dados Biográficos
| ID | 74070 |
|---|---|
| NOME | D V Cheremisin |
| PRENOMES | D V |
| SOBRENOME | Cheremisin |
| ASSINATURA | CHEREMISIN D V |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 14 |
| TOTAL DE CITAÇÕES | 30 |
| TOTAL COMO AUTOR | 14 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2006 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2025 |
| ÍNDICE H | 4 |
Study of Palimpsests in the Petroglyphs of Elangash
This article discusses modern approaches to studying cultural processes in the zone of high mountain valleys in the south of the Russian Altai by analyzing extensive visual evidence of the rock art from the region. Rock art sites along river valleys in the spurs of the Southern Chuya Ridge were confined to traditional routes of migration and places of winter encampments of cattle breeders, the most convenient places for which had been chosen in a…
Prospects for Studying Cultural Communications Using the Evidence of Petroglyph Research in the South of the Russian Altai
This study presents the basic principles of an innovative method for studying rock art, which involves determining the nature of cultural communications revealed by specific aspects of the relationship between the authors of the relatively late layers of petroglyphic palimpsests and comparatively earlier images. This entails communication aspects which can be conventionally described as a relatively “friendly” or “unfriendly” perception of the wo…
Sanctuary with “Kalguty” Style Images in Northwestern Mongolia (Preliminary Data)
This article presents the first results of a detailed study of a key rock art site with the earliest petroglyphs in the Mongolian Altai—Baga-Oigur-5 (Right Bank). Basic data on its location, the surrounding environment, etc. are provided. The main groups of petroglyphs are characterized and attributed. The most numerous group, that of the "Kalguty" style, is examined in detail. This style was previously attributed by the current authors to the Fi…
Semantics of the Main Scene of Huashan Rock-Paintings (Guangxi-Zhuang Autonomous Region, China)
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The “Kalgutinsky” Style in the Rock Art of Central Asia
On the basis of petroglyphic sites Kalgutinsky Rudnik (Kalgutinsky mine) on the Ukok Plateau, Baga-Oigur and Tsagaan-Salaa in northwestern Mongolia, a distinct “Kalgutinsky” style of rock art of the Russian and Mongolian Altai is described. The distance between these sites is about 20 km. This group is marked by very specifi c stylistic features, common technological properties, a narrowly defi ned motif, featuring only animals, and a very intens…
New Research of Earliest Rock Art in Mongolian Altai
Pavel Kozhin, A Moscow Siberian (in honor of his 80th Birthday)
An Archaeological Landscape in the Dzhazator Valley (Altai Mountains)
Analysis of the organization of archaeological sites in the Dzhazator valley reveals patterns from the Chalcolithic to the Ethnographic period. There is a relationship between the monuments and petroglyphs in the Bronze Age, with a preference for the northern bank in the lower valley. In the early Iron Age and Turkic periods, all parts of the valley were used. The analysis reveals a distinction between the northern and the southern bank, where th…
On the Semantics of Animal Style Ornithomorphic Images in Pazyryk Ritual Artifacts
The paper focuses on animal style images and compositions in Pazyryk art. An attempt is made to reconstruct the semantics of certain images, proceeding from the assumption that art is a special language used to express perceptions of the Universe. The mythical griffi n is the most popular fi gure in Pazyryk art, suggesting that the Pazyryk people may be identifi ed with the “griffi ns guarding gold,” mentioned by Aristeas and Herodotus. The griff…
International conference on Scythian archaeology and the archaeology of the Altai Mountains, Ghent, Het Pand, December 4–6, 2006
Petroglyphs of the Ukok Plateau
The meaning of representations in the animal style and their relevance for the reconstruction of Pazyryk ideology
International conference “Frozen tombs in the Altai mountains
Toward a discussion on the information content of petroglyphs and the methods of their study
The “Kalgutinsky” Style in the Rock Art of Central Asia
On the basis of petroglyphic sites Kalgutinsky Rudnik (Kalgutinsky mine) on the Ukok Plateau, Baga-Oigur and Tsagaan-Salaa in northwestern Mongolia, a distinct “Kalgutinsky” style of rock art of the Russian and Mongolian Altai is described. The distance between these sites is about 20 km. This group is marked by very specifi c stylistic features, common technological properties, a narrowly defi ned motif, featuring only animals, and a very intens…
An Archaeological Landscape in the Dzhazator Valley (Altai Mountains)
Analysis of the organization of archaeological sites in the Dzhazator valley reveals patterns from the Chalcolithic to the Ethnographic period. There is a relationship between the monuments and petroglyphs in the Bronze Age, with a preference for the northern bank in the lower valley. In the early Iron Age and Turkic periods, all parts of the valley were used. The analysis reveals a distinction between the northern and the southern bank, where th…
Petroglyphs of the Ukok Plateau
Toward a discussion on the information content of petroglyphs and the methods of their study
Sanctuary with “Kalguty” Style Images in Northwestern Mongolia (Preliminary Data)
This article presents the first results of a detailed study of a key rock art site with the earliest petroglyphs in the Mongolian Altai—Baga-Oigur-5 (Right Bank). Basic data on its location, the surrounding environment, etc. are provided. The main groups of petroglyphs are characterized and attributed. The most numerous group, that of the "Kalguty" style, is examined in detail. This style was previously attributed by the current authors to the Fi…
New Research of Earliest Rock Art in Mongolian Altai
On the Semantics of Animal Style Ornithomorphic Images in Pazyryk Ritual Artifacts
The paper focuses on animal style images and compositions in Pazyryk art. An attempt is made to reconstruct the semantics of certain images, proceeding from the assumption that art is a special language used to express perceptions of the Universe. The mythical griffi n is the most popular fi gure in Pazyryk art, suggesting that the Pazyryk people may be identifi ed with the “griffi ns guarding gold,” mentioned by Aristeas and Herodotus. The griff…
International conference on Scythian archaeology and the archaeology of the Altai Mountains, Ghent, Het Pand, December 4–6, 2006
The meaning of representations in the animal style and their relevance for the reconstruction of Pazyryk ideology
International conference “Frozen tombs in the Altai mountains
International conference “Frozen tombs in the Altai mountains
Toward a discussion on the information content of petroglyphs and the methods of their study
International conference on Scythian archaeology and the archaeology of the Altai Mountains, Ghent, Het Pand, December 4–6, 2006
Petroglyphs of the Ukok Plateau
The meaning of representations in the animal style and their relevance for the reconstruction of Pazyryk ideology
On the Semantics of Animal Style Ornithomorphic Images in Pazyryk Ritual Artifacts
The paper focuses on animal style images and compositions in Pazyryk art. An attempt is made to reconstruct the semantics of certain images, proceeding from the assumption that art is a special language used to express perceptions of the Universe. The mythical griffi n is the most popular fi gure in Pazyryk art, suggesting that the Pazyryk people may be identifi ed with the “griffi ns guarding gold,” mentioned by Aristeas and Herodotus. The griff…
An Archaeological Landscape in the Dzhazator Valley (Altai Mountains)
Analysis of the organization of archaeological sites in the Dzhazator valley reveals patterns from the Chalcolithic to the Ethnographic period. There is a relationship between the monuments and petroglyphs in the Bronze Age, with a preference for the northern bank in the lower valley. In the early Iron Age and Turkic periods, all parts of the valley were used. The analysis reveals a distinction between the northern and the southern bank, where th…
Pavel Kozhin, A Moscow Siberian (in honor of his 80th Birthday)
New Research of Earliest Rock Art in Mongolian Altai
Semantics of the Main Scene of Huashan Rock-Paintings (Guangxi-Zhuang Autonomous Region, China)
(
The “Kalgutinsky” Style in the Rock Art of Central Asia
On the basis of petroglyphic sites Kalgutinsky Rudnik (Kalgutinsky mine) on the Ukok Plateau, Baga-Oigur and Tsagaan-Salaa in northwestern Mongolia, a distinct “Kalgutinsky” style of rock art of the Russian and Mongolian Altai is described. The distance between these sites is about 20 km. This group is marked by very specifi c stylistic features, common technological properties, a narrowly defi ned motif, featuring only animals, and a very intens…
Sanctuary with “Kalguty” Style Images in Northwestern Mongolia (Preliminary Data)
This article presents the first results of a detailed study of a key rock art site with the earliest petroglyphs in the Mongolian Altai—Baga-Oigur-5 (Right Bank). Basic data on its location, the surrounding environment, etc. are provided. The main groups of petroglyphs are characterized and attributed. The most numerous group, that of the "Kalguty" style, is examined in detail. This style was previously attributed by the current authors to the Fi…
Study of Palimpsests in the Petroglyphs of Elangash
This article discusses modern approaches to studying cultural processes in the zone of high mountain valleys in the south of the Russian Altai by analyzing extensive visual evidence of the rock art from the region. Rock art sites along river valleys in the spurs of the Southern Chuya Ridge were confined to traditional routes of migration and places of winter encampments of cattle breeders, the most convenient places for which had been chosen in a…
Prospects for Studying Cultural Communications Using the Evidence of Petroglyph Research in the South of the Russian Altai
This study presents the basic principles of an innovative method for studying rock art, which involves determining the nature of cultural communications revealed by specific aspects of the relationship between the authors of the relatively late layers of petroglyphic palimpsests and comparatively earlier images. This entails communication aspects which can be conventionally described as a relatively “friendly” or “unfriendly” perception of the wo…
Archaeology (8 obras) · Geography (7 obras) · Archaeology and ancient environmental studies (6 obras) · Geology (6 obras) · History (5 obras) · Pleistocene-Era Hominins and Archaeology (5 obras) · Ancient history (4 obras) · Archaeology and Rock Art Studies (4 obras) · Style (visual arts (4 obras) · Computer Science (3 obras)