Bowl From the Haimanova Mohyla Kurgan in the Context of Scythian Mythical and Ritual Tradition
Bibliographic Data
| ID | 22041332 |
|---|---|
| Authors | Yu Polidovych (0000-0003-0113-6746, corresponding author) |
| Year | 2025 |
| Issue | 2(55) |
| Pages | 191-215 |
| Publication date | 2025-06-30 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Archaeology and Early History of Ukraine (JOURNAL) |
| Journal identifiers | ISSN: 2227-4952 • E-ISSN: 2708-6143 |
| Publisher | Institute of Archaeology, National Academy of Sciences of Ukraine (PUBLISHER) |
| DOI | 10.37445/adiu.2025.02.14 |
| OpenAlex | W7159809894 |
| Language | EN |
| References cited | 9 |
The silver bowl, bearing the images of the Scythians, discovered in the Haimanova Mohyla kurgan is analyzed in the paper. This kurgan, dated to the second quarter of the 4th century BC, was excavated in 1969—1970 near the village of Balky in Zaporizhzhia region (Ukraine) by the expedition of the Institute of Archaeology of the Academy of Sciences of Ukraine headed by Dr. Vasyl Bidzilia. The silver bowl is a real masterpiece of Graeco-Scythian art. It has two handles, and a gilded ornamental frieze depicting six figures (men of various ages, representatives of the Scythian elite) grouped into four scenes. Scythologists have examined the bowl from the Haimanova Mohyla in detail. However, the initial wrong interpretation of the images was followed by erroneous conclusions. This was due to corrosion damage to the bowl, and the researchers worked from a drawing that contained a «blank spots» which allow ther arbitrary assumptions. The author clarifies various visual details on the bowl and proposes new interpretation of some persons and the overall plot. Scene B is a key one. It depicts a dialogue between two men, likely concerning power. The character seated on the left (no. 4) is younger. He does not hold a vessel in his right hand. He addresses his counterpart with a distinctive gesture of his extended left arm. Just the same gesture is depicted in a scene on the ritual vessel found in kurgan no. 3 of the Chastye Kurgany group (near Voronezh, Russia). The gesture may mean dominance or command. The other character (no. 5), who is older, extends his right hand with an open palm in an inquiring manner. It’s clear, the dominant person in this scene is the younger man, asserting himself as ruler, while the older one is seen losing his power. The top of bowl handles are decorated with four ram heads. These images relate to the mythological concept of the World Tree. They also correspond to the mythologeme of khvarenah (or farn) — divine power, auspicious fate, supreme authority, and prosperity. Beneath the handle to the left of scene B is the figure of a beardless youth with an animal-skin vessel (character no. 3, Scene C). He wears high-status clothing, though it is unornamented. He is likely a cupbearer. Beneath the other handle is an older man (character no. 6, Scene D). He was crouching on all fours, clutching his head with right hand — a gesture of despair, shame, or regret. A gorytus on his belt is behind him. This is the man who has lost a power. The three scenes are united in a single plot. Scene C with the youth acts as a prologue; Scene B tells the main story, and Scene D concludes it. The narrative tells of a young, ambitious hero who rises to power, having been granted fortune (farn) and divine blessing. He strips the former ruler of authority, as the older man has lost both power and the favor of the gods. The story may be linked to an Iranian mythologeme concerning supreme power. Key elements of this myth were also depicted on the famous golden pectoral from the Tovsta Mohyla barrow — including deities bestowing farn, a shepherd boy, and a cupbearer youth. The myth was adopted by the Scythians to affirm the divine origin of their ruler’s power (possibly referring to King Ateas). At the same time, the scene depicted on the bowl may also reflect Scythian rituals; particularly those associated with guarding of sacred golden relics gifted by the gods (cf. Herodotus IV.7). Scene A and characters no. 1 and 2 are of quite different character. The characters are depicted with grandeur, with emphasis on their attributes — gorytus and swords. All features show that these are depictions of gods, embodied in the forms of noble and experienced warriors. By their attributes one can identify Goitosyrus-Apollo (corresponding to the Iranian Mithra) and the «Scythian Ares» (corresponding to the Iranian Verethragna). The symbolic meanings embedded in the bowl imagery defined its high sacred status. It played a crucial role in rituals related to supreme power and the sanctification of the ruler, affirming the farn granted by the gods and enhancing the ruler’s natural strength
Gesture · Ancient and Medieval Archaeology Studies · Eurasian Exchange Networks · Linguistics and language evolution
| Citation velocity | historical |
|---|---|
| Highly cited | No |