Scythian, or Scytho-Siberian, animal style of the 7th-early 3rd century BC (hereinafter referred to as SSZS), which, along with weapons and horse equipment, constitutes the "Scythian triad", is an artistic direction in ancient applied zoomorphic art, characterized by a stable set of animal characters displayed in strictly defined poses and compositions using special techniques. techniques for modeling parts 1. In fact, it is one of the" great styles " in the visual arts, commensurate with such trends as geometric, archaic or classical styles in ancient Greek art.

This direction characterizes the Scythian-Siberian cultural and historical region ("Scythian-Siberian world"), defined by the presence of the" Scythian triad " and localized in a vast expanse of steppes (and partly forest-steppes) from the mouth of the Danube to Lake Baikal. The Scythian-Siberian world includes the Scythian archaeological culture of the steppe of the Northern Black Sea region and the Azov Sea, the Northern Caucasus and the forest-steppe from the Dnieper to the Don region, the "Sauromat" culture of the Lower Volga and Southern Urals, the cultures of the Sako-Massaget circle of Kazakhstan and Central Asia, the Tagar, Pazyryk, and Uyuk cultures of Southern Siberia and Central Asia.2
The Scythian animal style has been studied for more than a century. The phenomenon of this artistic direction was revealed against the background of other trends in the animalistic art of antiquity in the works of E. H. Minns [Minns, 1913, p. 261-264] and B. V. Farmakovsky [Farmakovsky, 1914, p.29-37]. Then M. I. Rostovtsev [Rostovtsev, 1918; Rostovtzeff, 1922; Rostovtzeff, 1929], G. I. Borovka [Borovka, 1928], and K. Schefold [Schefold, 1938, p. 3-77] described the characteristic features of the Scythian animal style, analyzed the leading images and motifs of the SSZS, determined its approximate range, and tried to establish its chronology, origins and directions of development.

GCC studies, which were actively developed in the second half of the 20th century on the basis of a massive increase in archaeological material, have shown that this art is one of the most important markers of the Scythian-Siberian world. Since the cultures that make up this cultural and historical area are localized mainly on the territory of the former USSR, the problem of the GCC became one of the key topics of Soviet archeology (with considerable attention paid to it by a number of foreign researchers).

1 Despite the fact that the concept of "style" as such is private in relation to the more general concept of "artistic direction", the phrase "Scythian animal style" traditionally refers to the artistic direction in scientific literature, since it refers to the interdependence of form and content (see, for example: [Korolkova, 1996, p. 23]).

2 The Ananyin and Koban cultures are closely related to the Scythian-Siberian world, but their zoomorphic art has a special character and is not an integral part of the GCC.

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The collapse of the USSR, being a serious test for Russian science, did not become an insurmountable obstacle to the development of research in the Scythian-Siberian world. In the post-Soviet space, the study of the Scythian animal style was continued. There is an intensive accumulation of archaeological material during excavations, while already known sources are being studied in more depth using new methods and approaches, taking into account new analogies revealed during excavations.

Due to the large number of publications related to the GCC in one way or another, this review is mainly devoted to articles and monographs describing the Eastern European Scythian animal style (as a local version of the GCC), which means an array of images made in the canons of the GCC and originating from the territory of the Scythian archaeological culture.

In the 1990s-2000s, as in previous decades, a comprehensive study of certain regions and art schools of the SSWSS was carried out (in the Soviet era, such studies were usually one of the components of the monographic characteristics of specific archaeological cultures of the Scythian-Siberian world). For the Eastern European Scythian animal style, this trend was shown in the study of its three local variants: forest - steppe (Middle Dnieper-Middle Don), steppe (Northern Black Sea and Azov), and North Caucasus.3
First of all, the comprehensive publications of the previously excavated most important monuments of Scythian archaeological culture in this area - the Kelermess and Krasnoznamensk burial mounds in the North Caucasus (Russia) - played an invaluable role [Galanina, 1997; Petrenko, 2006], Gaimanova Mogila, Bratolyubovsky and Berdyansk mounds in the Dnieper region (Ukraine) [Bidzilya, Polin, 2012; Kubyshev, Bessonova, Kovalev, 2009; Boltrik, Fialko, Cherednichenko, 1994, pp. 140-156]. These publications contain a high-quality reproduction and detailed description of animal-style products from these monuments, drawing parallels and analogies.

The most important work of A. I. Shkurko (Russia) (based on the PhD thesis of this scientist, defended in 1975) was reprinted in a very timely manner, which describes the forest-steppe local variant of the Eastern European Scythian animal style and contains a detailed statistical analysis of its repertoire [Shkurko, 2000, pp. 304-313]. M. S. Bandrivsky (Ukraine), taking into account He studied the western periphery of the forest-steppe local variant - the territory of the Zapadnopolskaya group of Scythian archaeological culture, located at the junction with the Hallstatt zone of zoomorphic art (Bandrinsky, 1996, pp. 345-352; Bandritsky, 2010, pp. 145-177). He came to the conclusion that there was an independent school of animal style in this region, which was influenced by Central European art and relics of the Aegean-Anatolian tradition [Bandrinsky, 2010, p. 164-172]. A. S. Ostroverkhov (Ukraine) continued his research on the Olvi school of animal style of the VI-III centuries BC, which was formed on the basis of symbiosis Scythian and Ancient Greek (based on Ionian) art [Ostroverkhoe, 1996, p. 4]. 85-102; Ostroverkhoe, 2005, pp. 219-266]. Works of this school were found on the territory of the Olvi Hora and shire, in the zone of the Dnieper-Bug-Dniester steppe interfluve; the main centers of production were Olvia, Berezan, Nikoniy and peripheral settlements [Ostroverkhov, 2005, p. 251-255]. A. R. Kantorovich (Russia) in his PhD thesis and in a number of publications systematized and analyzed images of the steppe the Northern Black Sea-Iriaz variant of the Scythian animal style (Kantorovich, 1994; Kantorovich, 2002).

3 The North Caucasian version of the Scythian animal style refers primarily to numerous pre-Kuban images made in the appropriate spirit (regardless of whether specific masters were Scythians, Maeots or anyone else), as well as an array of images from the Central Ciscaucasia, including Stavropol.

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In the post-Soviet era, significant progress was made in the study of the North Caucasian zone of the East European Scythian animal style. E. V. Perevodchikova (Russia) continued the characterization of the Pre-Kuban version of the Scythian animal style [Perevodchikova, 1980; Perevodchikova, 1994, pp. 158-170; Perevodchikova, 1995, pp. 98-116]. E. V. Perevodchikova's identification of three chronological modifications of the Prikubansky animal style and its division into two stages of the "classical" period (V-IV centuries BC), which was identified by M. I. Rostovtsev, is particularly important [Perevodchikova, 1994, pp. 158-167]. E. F. Korolkova (Russia), taking into account the discovery of masterpieces of GCC art in the Filippovsky mounds of the Southern Urals, made an attempt to substantiate the existence of the origins of the complicated decorative pre-Kuban style of the IV century BC in the art of nomads of the eastern zones of the Scythian-Siberian world, primarily in the Southern Urals and Southern Siberia [Korolkova, 2005, pp. 91-111].

A. M. Leskov's monograph catalog devoted to the so-called Maikop treasure played an important role in the study of the Pre-Kuban variant of the Scythian animal style (Leskov, 2008). This book was written and published in the United States, where its author now lives, whose name is associated with outstanding archaeological discoveries of the 1960s and 1980s in the Northern Black Sea region and the North Caucasus. The monograph is the first complete edition of materials from a number of museum collections (the Metropolitan Museum of Art, the University of Pennsylvania Museum, and the State Museums of Berlin), which together make up the Maikop treasure (about 300 items), which is based on the collection collected in the late XIX - early XX centuries by Merle de Massono, head of vineyards in southern Russia. The Maikop hoard is largely composed of items designed in the Scythian animal style and originating mainly from the Kuban region, but possibly also from the territory of the Northern Black Sea region. The author introduces many previously unknown works of Scytho-Meotic animal style into scientific circulation, carefully analyzing each of them, establishing their analogies and chronology, and in the final essay systematizes the array of products, considering the relationship of images with the categories of decorated things and identifying the main trends in the development of Scytho-Meotic art.

A number of articles by V. R. Ehrlich (Russia), G. K. Shamba (Abkhazia), and A. R. Kantorovich (Russia) are devoted to the local variant of the Kuban region as a symbiosis of Scythian and Meotic zoomorphic art, its images, plots, and motives, and its influence on adjacent territories [Ehrlich, 2002, pp. 7-17; Ehrlich, 2004, pp. 158-172 Ehrlich, 2009, p. 456-460; Ehrlich and Shamba, 2005, p. 164-171; Kantorovich and Ehrlich, 2004, p. 49-63; Kantorovich, 2010, p. 286-314], as well as a monograph-catalog, including 175 works of ancient bronze art of the VIII-III centuries BC, stored in the State Museum of Peoples ' Art And the National Museum of the Republic of Adygea (Kantorovich and Ehrlich, 2006).

New materials obtained as a result of the research of Scythian and Scythian-Koban monuments in Stavropol and the Central Ciscaucasia (primarily excavations under the direction of V. G. Petrenko, V. B. Vinogradov, A. P. Moshinsky, etc.), as well as museum searches, made it possible to continue the study of the Scythian animal style in this territory,which began in the 1960s and 1980s. which can be combined with the Kuban region in the North Caucasian local variant of the Scythian animal style [Petrenko, Maslov, 1999, pp. 250-259; Petrenko, Maslov, and Kantorovich, 2000, pp. 238-248; Petrenko, Maslov, and Kantorovich, 2009, pp. 225-234; Kantorovich, Maslov, and Petrenko, 2007, pp. 168-207; Kantorovich, Maslov, Petrenko, 2011, pp. 103-109; Korenyako, 2001, pp. 52-64; 2012, pp. 340-345]. Here the Scythian animal style was in close contact with the original Koban art, and on the verge of these artistic systems there were images and compositions made in a mixed manner. A monograph by G. N. Volnaya (Russia) [Volnaya, 2002] is devoted to this borderline artistic direction, which examines the entire set of relevant works.

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images and plots are analyzed, their origins, evolution, and semantics are analyzed. The works of A. P. Moshinsky, E. V. Perevodchikova, and Yu.A. Prokopenko (Russia) are also devoted to Scythian-Koban zoomorphism (Moshinsky and Perevodchikova, 2004, pp. 5-26; Prokopenko, 2005, pp. 386-397; Prokopenko, 2011, pp. 204-214; Prokopenko, 2012, pp. 38-51).

The study of a very specific Middle Don zone of the Eastern European Scythian animal style, which was initiated earlier by P. D. Liberov (Liberov, 1976: 138-146) and A. I. Shkurko (Shkurko, 1976: 90-105), is still ongoing. In particular, A. I. Puzikova (Russia) presented and characterized objects with images in the local animal style first in the catalog [Puzikova, 1995], and then in the monographic publication of materials from P. D. Liberov's excavations, in which the researcher herself took an active part [Puzikova, 2001]. A. P. Medvedev (Russia), based among other things on new materials obtained as a result of their excavations on the Middle Don, continued to study the Scythian animal style in this territory. A. P. Medvedev and E. I. Savchenko considered animal-style images in close connection with the categories of products they decorated [Medvedev, 1999, pp. 107-109 Savchenko, 2004, pp. 229-241; Savchenko, 2009, pp. 251-282], and V. I. Gulyaev devoted a separate chapter of his monograph to the Srednedonsky array of images in the Scythian animal style, where he reviewed almost the entire repertoire [Gulyaev, 2010, pp. 209-243]. In this case, B. I. Gulyaev, in contrast to A. I. Shkurko and especially P. D. Liberov, sees no grounds for distinguishing the Middle Don zone as a special local variant of the Scythian animal style (although he recognizes as local specifics the predominance of local fauna motifs and traces of the influence of Sauromatic art in the Volga and Ural regions). On the contrary, in her PhD thesis and in the publications of L. Y. Goncharova (Russia), a monographic study of the phenomenon of animal style of the Middle Don was undertaken precisely as an independent local variant, as a special school of zoomorphism [Goncharova, 2000, pp. 51-61; Goncharova, 2001(1); Goncharova, 2001(2), pp. 36-38].

In addition to research within the boundaries of local variants, a comprehensive study of the art of Eastern European animal style is carried out within certain chronological periods or monuments. Thus, T. V. Ryabkova specifically analyzed the repertoire of images of the Scythian archaic period of the VII-VI centuries BC [Ryabkova, 2005, p. 42-65], A. R. Kantorovich characterized the animal style of the Nartan burial ground as one of the basic monuments of the Scythian-Koban circle [Kantorovich, 2011, p.94-99].

Another actively developing direction in the study of the phenomenon of GCC is a special study of certain images, plots, motifs and artistic techniques of animal style, carried out not only within the local variants, but also within the Scythian-Siberian world as a whole. This trend, whose starting point was the works of the 1920s and 1930s, primarily the publications of G. I. Borovka [Borovka, 1928] and K. Schefold [Schefold, 1938, p.33-60], continues to determine the study of the GCC repertoire in the post-Soviet space from the point of view of both formal and substantive aspects.

Modern archaeological data confirm the long-established scientific idea of the absolute dominance of four images in the GCC repertoire: carnivores, ungulates, birds, and syncretic animals. In the context of these images, the study of the repertoire of the Eastern European Scythian animal style is mainly continuing.

In particular, the fundamental works of Yu.B. Polidovich (Ukraine) and E. S. Bogdanov (Russia) were devoted to a special study of the predator image in the GCC. The analysis of E. S. Bogdanov's monograph is beyond the scope of my review, since he collected and analyzed all the images of the Scythian-era predator within Central Asia, while drawing analogies from other GCC zones, including the territory of the Eastern European animal style (Bogdanov, 2006).

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Yu. B. Polidovich, in a number of his works, undertook a "cross-cutting" study of predator images throughout the entire Scythian-Siberian world; within the framework of the GCC, he collected extensive material (1709 images from 18 regions of the Scythian-Siberian world) and subjected it to formal typological and structural-semiotic analysis [Polidovich, 2001]. Yu. B. Polidovich hypothesized two "provinces" in the development of the coiled predator theme in the GCC - "western" and "eastern", suggesting the primacy of the" western " province (due to the greater compositional thoughtfulness and greater variability of the corresponding images).) in relation to the "east" [Polidovich, 1994, p. 67; Polidovich, 2001, p. 30-32]. In addition, the researcher specifically considered the specific plot of a profile predator with a full-face head, revealing the origins and semantic connotations of this motif [Polidovich, 2008(2), pp. 39-59]. Polidovich studied one of the key works of the Scythian animal style - the Kelermes Panther, whose stylistic and semantic analysis led him to the conclusion that the iconography of this masterpiece combines the traditions of both Western and eastern regions of the GCC, that this image reflects common Scythian mythological connotations, and that the image itself uses Near-Asian jewelry technology [Polidovich, 2010(2), pp. 238-241]. Finally, after specifically studying the manner of reproduction of the predator's tail in the GCC, Yu. B. Polidovich identified several variations in the tail arrangement, raising the question of the plot-forming nature of this trait [Polidovich, 2002, pp. 189-206].

The plot of a coiled predator was reviewed by S. A. Vasiliev (Russia), who compiled a catalog of all known images of this kind on the GCC scale by that time [Vasiliev, 2000].

The images of predators were specially studied by A. R. Kantorovich. In particular, he carried out classification, typology, chronology and reconstruction of iconographic dynamics of reduced images of predators - isolated limbs [Kantorovich, 2012, pp. 17-71]. The researcher collected and analyzed all images of one of the basic plots of the GCC - a coiled predator-in the zone of the Eastern European Scythian animal style [Kantorovich, 2014 (4)].

In the post-Soviet era, the image of hoofed animals was also actively studied. S. A. Skoryy (Ukraine) considered objects designed in the form of an elk's head, belonging to the Scythian era and originating from the territory of Eastern Europe (Skoryy, 2006, pp. 155-156). As a follow-up to this work and an earlier article by A. I. Shkurko [Shkurko, 1980, pp. 71-78], A. R. Kantorovich carried out a classification and typology of all published images of elk - both full-figure and reduced-in the East European Scythian animal style; on the basis of independent chrono-indicators and taking into account iconographic dynamics, a chronology of each image type was developed With this in mind, the main trends in the development of moose iconography in the Eastern European Scythian animal style, as well as the lines of intersection of this image with other zoomorphic themes, are determined [Kantorovich, 2013, pp. 423-480]. Studying the image of ungulates in the Eastern European Scythian animal style, A. R. Kantorovich systematized local images of wild boars [Kantorovich, 2011, pp. 34-42]. He and A. A. Gribkova (Ukraine) reconstructed the stylistic and semantic origins of the reclining boar plot in the Eastern European Scythian animal style [Kantorovich and Gribkova, 2011, p. 132-146]. A. R. Kantorovich analyzed an array of images of the most popular animal in Scythian art - the red deer-in various subjects (lying, "flying" and standing), including the following: In the context of the interaction of the Scythian and Sauromatic regional components of the GCC [Kantorovich, 1996, p. 46-59; Kantorovich, 2009(1), p. 164-178; Kantorovich, 2009(2), p. 245-260], he identified and characterized a special image of" losekozla " - a synthetic animal.

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ungulate, the motif of which arose from the images of an elk and a goat (under the influence of the theme and composition of a deer) [Kantorovich, 1995, pp. 45-55].

Yu. B. Polidovich, in a special study, identified several basic schemes for reproducing red deer antlers in the Scythian animal style [Polidovich, 2010(4), pp. 286-289].

The topic of the bull was considered from a semantic point of view in the article by A. A. Gribkova and Yu. B. Polidovich, devoted to the publication of a unique image from the Zolotonosha uyezd in the Dnieper region [Gribkova and Polidovich, 2013, pp. 259-277]; the authors, based on mythological analogies, came to the conclusion that images of the bull in Scythia could perform an apotropaic function [Gribkova, Polidovich, 2013, p. 266].

An article by N. L. Chlenova (Russia)was devoted to the motif of the horse hoof print, which is extremely popular throughout the Scythian-Siberian world - the horse denotation [Chlenova, 2000, p. 90-106] and a recent report by V. A. Kisel (Russia) at the meetings of the "round table" on Scythian animal style, held at the Department of Archeology of Moscow State University in December 2013.

A number of studies of the Eastern European Scythian animal style and adjacent local variants of the GCC are related to the bird image. In particular, N. A. Gavrilyuk, V. N. Grishchenko, and E. D. Yablonovskaya-Grishchenko (Ukraine) made an attempt to specifically identify bird images in Scythian as well as Greek toreutics, based on Scythian requests [Gavrilyuk, Grishchenko, and Yablonovskaya-Grishchenko, 1999, pp. 56-64; Gavrilyuk, Grishchenko, Yablonovskaya-Grishchenko, 2001, pp. 260-265]. Yu. B. Polidovich devoted one of his works to the morphology and reconstruction of the origins of images of the circle of the Melgunov eagle , one of the basic iconographic types of the Scythian animal style [Polidovich, 2013, pp. 89-100].

The discussion about the original iconographic and semantic origins (variants: Greek or Scythian) of the popular Scythian animal scene "the bird torments the fish", which began in the 1960s and 1980s [Grakov, 1965; Karyshkovsky, 1982; Ostroverkhov, 1984; Kopeikina, 1986], continued. In particular, E. F. Korolkova hypothesized that the "bird on a fish" scene originally appeared in the eastern zone of the Scythian-Siberian world-ultimately under the influence of Chinese art-and that this scene subsequently spread to the west-successively to the zone of the Sauromatic, Scythian, and Maeotic cultures (Korolkova, 1998, pp. 172-176). On the contrary, A. R. Kantorovich suggested that this scene originally came to the Northern Black Sea region and the North Caucasus in Scythian and Scytho-Meotic art from the Greek repertoire (the plot "eagle on a fish" or "eagle on a dolphin"), then spread to the northern and eastern zones of the GCC, while simplifying and schematizing that As a result, it led to the loss of one of the two components of this scene - the image of a fish (Kantorovich, 1997, p.107-109; Kantorovich and Ehrlich, 2006, p. 99-101).

A number of works characterize syncretic images of the Eastern European Scythian animal style-griffins and other zoomorphic creatures formed from various elements of real animals in fantastic combinations. Thus, S. A. Skoryi, in a monographic study of the 11-meter Perepyatikha mound near the village of Maryanovka on the Middle Dnieper, excavated in 1845, characterized the images on plaques-applications from this mound, which belong to the extremely rare Early Greek type in the Scythian animal style (Skorii, 1990, pp. 38-42). The researcher explained the appearance of these images in the Dnieper region as a consequence of the Antero-Asian campaigns of Scythians and subsequent imitations [Skoriy, 1990, p. 65]. A. R. Kantorovich systematized images of hippocampus - "cockerels" [Kantorovich, 1992, p. 30-39], gryphobarans (baranoptitsa) [Kantorovich, 2007(1), pp. 235-257; Kantorovich 2012(3), pp. 362-370)], the image of the griffin and its derivatives in Scythian art [Kantoro-

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vich, 2012(2), pp. 106-133], showing the origins, direction of evolution, and chronology of these motifs.

In addition to the main images, the researchers continued to study other zoomorphic motifs of the Scythian animal style. In particular, Yu. B. Polidovich (Ukraine) and G. N. Volnaya (Russia) [Polidovich and Volnaya, 2005, pp. 425-436] systematized almost all images of the hare in the Scythian-Siberian world and in adjacent territories (most of them originate from the Northern Black Sea region and the North Caucasus). At the same time, the researchers attributed to a single set (in addition to purely Scythian and Scytho-Greek images of the hare) and interpretations that are absolutely alien to the Scytho-Siberian style - Greek, Greek-Thracian and Chinese. As shown by L. I. Babenko (Ukraine), a number of images identified by G. N. Volnaya and Yu. B. Polidovich as hare images (on the golden plaques of the circle of workshops of the Velsky settlement near Poltava) can also be interpreted as a simplified interpretation of the gryphon (Babenko, 2006, pp. 76-81, Fig. 1, 9-12; Babenko, 2012, p. 113].

E. F. Korolkova identified and systematized almost all images of the two-humped camel in the Eurasian steppes, and not only in relation to the Scythian, but also the subsequent Sarmatian era; by 2006, the researcher had taken into account 90 items from 35 monuments [Korolkova, 1999, p. 68-96; Korolkova, 2006, p.88-104]. Although E. F. Korolkova did not identify camel images on the territory of the Scythian archaeological culture, the clear criteria for identifying this image developed by the researcher allowed A. R. Kantorovich, based on the data of new excavations [Belinsky et al., 2013, pp. 18-19], to prove the penetration of the camel image into the zone of Eastern European Scythian animal style [Kantorovich, 2014(1)].

In the post-Soviet era, research continued on certain categories of products designed or decorated in the Eastern European Scythian animal style. In particular, E. F. Korolkova (Chezhina )carried out a comprehensive analysis of boar tusks (and their bronze imitations) with zoomorphic images used in the Scythian era as horse pendants [Chezhina, 1991, pp. 30-42; Korolkova, 2006, pp. 105-128]. The researcher compiled a complete summary of these items, mapped and dated them. Having identified the predominant distribution of these items in the territory of the "Sauromatian" culture, E. F. Korolkova demonstrated their presence under the influence of this culture and in the Scythian archaeological culture zone in the Dnieper region, thereby confirming the long-standing observation of E. V. Yakovenko on new material (Yakovenko, 1969, pp. 206-207).

A similar exhaustive study (including morphological, stylistic, and semantic analysis) was undertaken by E. F. Korolkova, in continuation of the work of V. A. Ryabova [Ryabova, 1987, p. 144-149], concerning zoomorphically decorated ritual wooden and metal vessels (bowls, mugs, rithons, etc.) of the Scythian and Sarmatian epochs in the Eurasian steppe zone [Korolkova, 2003, pp. 28-59]. A similar study in relation to ritual bowls, but of a more private nature - in connection with the image of a bird - was undertaken by E. E. Fialko (Ukraine) [Fialko, 1998, p.82-83]; S. S. Bessonova (Ukraine) considered ritons with overlays in the Scythian animal style [Bessonova, 2009, p. 30-38].

Various costume elements designed in the Scythian and Greco-Scythian animal style were also actively studied. L. S. Klochko (Ukraine) analyzed the accessories of the Scythian women's costume (patch plaques, curling earrings and pendants, pins, neck and breast ornaments) decorated with images of waterfowl (ducks, etc.) [Klochko, 2010, pp. 55-73]. The researcher came to the conclusion that this image, being one of the symbols of peacemaking, mainly marks the costume of the priestess of the goddess of fertility (Argimpas?), possibly a costume intended for "sacred marriage" [Klochko, 2010, pp. 68-71].

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Yu. B. Polidovich turned to cross-shaped badges of the Olvian type, designed in the Scythian animal style and making up accessories of a suit or weapon [Polidovich, 2000, pp. 35-48]. Having systematized all the cross-shaped plaques of the Scythian era originating from the territory of Eastern and Central Europe, he identified three morphological groups of these items, the first of which included animal-style plaques [Polidovich, 2000, pp. 35-36]. The author analyzed the repertoire and subjects of images on animal-style plaques, the origins of these motifs, clarified the chronology of the plaques and, on this basis, determined the direction of distribution of these products (in his opinion, the movement went from the territory of the North-Eastern Black Sea region to the North-Western Black Sea region and the Carpathian-Danube region).

Yu. B. Polidovich systematized an array of psalms with endings designed in the Scythian animal style, and interpreted them (following M. N. Pogrebova and D. S. Rayevsky [Pogrebova and Rayevsky, 1992, p. 135]) as a sign of a certain animal - a horse, a ram, etc., as a result of displaying the whole animal in a reduced form [Polidovich, 2004(1), p. 143-165]. A. R. Kantorovich analyzed another element of horse equipment - loop / hook naps, usually designed in the animal style; considered their origins, morphological groups, and traced their evolution into Sarmatian and Late Scythian ceremonial naps ([Kantorovich, 2007(2), p. 74-77 Kantorovich, 2007 (3)]. A. R. Kantorovich also carried out a statistical analysis of the correlation between the images of the East European Scythian animal style and the weapons decorated with them [Kantorovich, 2014(2), pp. 56-63].

In the context of reconstructing the technology of making things decorated in the Scythian animal style, one cannot but mention the works of R. S. Minasyan (Russia), who, continuing his research in this direction (see, for example: [Minasyan, 1990, pp. 67-76]), in recent years published a number of important works, although not directly related It also refers to the images of the Eastern European Scythian animal style (they are devoted to objects from the Siberian region of the GCC), but they also shed light on the technological techniques of masters of the Eastern European local version of the GCC [Minasyan, 2004(1), p.4015; Minasyan, 2004(2), p. 68-71].

In the post-Soviet period, as before, attempts were made to reconstruct the semantics of the Eastern European Scythian animal style (as well as the entire GCC as a whole), its images, plots and compositions, and to determine its role in the ideological system of the "Scythian-Siberian world". An important role here was played by the reprinting in a separate collection of works by E. E. Kuzmina, who actively and fruitfully developed this direction in the study of the GCC in the Soviet era [Kuzmina, 2002].

Yu. B. Polidovich considered from a semiotic point of view about 200 scenes of non-predatory animals being attacked and tormented by predators in the Scythian-Siberian world, including in this summary images not only of the GCC, but also of Greek, Thracian, Near-Asian art, as well as art from China and Mongolia. The researcher identified a number of compositional types (formulas) of such scenes and came to the conclusion that a significant part of the images illustrates the theme of sacrificial death, renewal of life and its rebirth through death. Yu. B. Polidovich admitted that predators in the images of scenes of attack and torment represent the female generative principle, ungulates-the male sacrificial principle [Polidovich, 2006, pp. 291-302]. He came to a conclusion about similar mythological connotations, classifying scenes in which zoomorphic and anthropomorphic (female and male) characters participate, and again attracted images not only in the Scythian and Greco-Scythian animal style, but also made exclusively in the Greek and Thracian manner [Polidovich, 2008(3), pp. 212-226; Polidovich, 2009, pp. 314-323]. Having systematized the scenes in the GCC composed of three zoomorphic subjects (sometimes with the participation of a fourth character-the object of torment), Yu. B. Polidovich came to the conclusion that these compositions reflect the idea of a "three-part sacrifice" leading to peacemaking [Polidovich, 2010(1), pp. 233-234].

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Yu. Based on reconstructions of Scythian ideology and parallels in Ossetian mythology, B. Polidovich interpreted the above-mentioned composition of a bird clawing a fish as a union of characters representing the water and sky elements (Polidovich, 2008(1), pp. 288-291). The researcher continued D. S. Raevsky's long-term research on identifying the common Iranian ternary concept of the universe in the Scythian zoomorphic code on the example of the Kulob deer [Polidovich, 1998, pp. 111-112].

S. S. Bessonova, considering the Scythian animal-style interpretations of the panther (leopard, leopard) as an integral part of the group of Scythian, Middle Eastern and Greek images of this animal associated with things originating from Scythian monuments, came to the conclusion about the special role of the female leopard/panther motif in Scythian mythology as an attribute or symbol of the archetypal Great Goddess and a deity related to the Greek Dionysus [Bessonova, 2011, pp. 49-66].

Yu. V. Boltrik (Ukraine) concluded that the boar image functions as a denotation of the Scythian god of war, Ares [Boltrik, 1998, p. 80-81]. V. I. Saenko (Ukraine) analyzed the semantics of the ambivalent motif - the hoofed ear, which is also a bird's wing [Saenko, 2005, p. 313-319].

Due to the unity of form and content, the reconstruction of semantics is inextricably linked to the study of poetics (the formal side) of the Eastern European Scythian animal style.

Turning to the formal, actually stylistic, aspect of the Eastern European Scythian animal style, I will first note the works of E. V. Perevodchikova. E. V. Perevodchikova, like earlier Ya. A. Sher 4, initially differentiated the features themselves that form the pictorial system of the Scythian animal style, distributing them into three levels based on correlation with specific species and groups of species of animals depicted: 1) the level of features that are neutral to the species (or invariant, distinguishing the animal style as such); 2) the level of features that are significant for the identification of three key images (birds, predators, ungulates); 3) the level of features that are significant for the specific identification of images (in the zoological sense) [Perevodchikova, 1994, p. 41]. Based on the material of the Prikubansky variant of the Scythian animal style, the researcher correlated visual techniques with the figurative and specific belonging of characters, which allowed her to identify the characteristic features of this local variant [Perevodchikova, 1994, pp. 19-57].

A significant contribution to the development of the theory of interpretation of the Scythian animal style was the monograph by D. S. Rayevsky, S. V. Kullanda and M. N. Pogrebova (Russia) [Rayevsky, Kullanda, Pogrebova, 2013]. Based on interdisciplinary linguistic, iconographic, and historiographical analysis, the authors substantiate a four-step algorithm for interpreting animal-style images (as pictorial texts).: 1) primary identification of realities, 2) determination of the nature of interaction between identified characters, 3) interpretation of a series of scenes (if there is such a series), 4) correlation of the revealed semantics of images and scenes with a wide body of mythological and other representations of the studied culture, community or era [Rayevsky, Kullanda, Pogrebova, 2013, pp. 58-73].

The development of this algorithm was preceded by D. S. Rayevsky's hypothesis about the parallelism of the Scythian animal style as a pictorial text and archaic Indo-Iranian verbal texts. The researcher first drew as a parallel

4 Ya. A. Sher, in his generalizing work on petroglyphs of Central and Central Asia, identified two groups of signs of zoomorphic images: variable (they reflect the content of the image and, accordingly, change from image to image) and invariant (stylistic elements associated not so much with the content plan as with the expression plan). On this basis, Ya. A. Sher proposed a mathematical algorithm for describing images [Sher, 1980, pp. 25-33, 50-59].

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in the poetics of Scythian animal style, the principles of construction and stylistics of ancient Aryan texts (primarily the Rig Veda) containing elements dating back to the era of Indo-European unity [Rayevsky, 1998, p. 83, Rayevsky, 2006]. D. S. Rayevsky considered it possible to consider certain images in the Scythian animal style as a visual equivalent to a verbal text, in particular in particular, a Vedic hymn to a particular deity (Rayevsky, 2006, p. 370). The researcher made a conclusion about the great importance of the game principle in the structure of the Scythian animal style and about the deliberate mystery of its images [Rayevsky, 2006, pp. 375-378]. Indeed, the abundance of zoomorphic transformations and the popularity of mysterious images in the Scythian animal style can also be explained by the game of the creators of the GCC with consumers.

Like D. S. Raevsky, E. F. Korolkova came to the conclusion that the method of zoomorphic transformations is based on "a psycho-intellectual tendency to play with the imagination, supported by mythological representations with their richest set of possible transformations and incarnations" [Korolkova, 2001, pp. 67-71].

A. R. Kantorovich made a special study of the artistic technique of zoomorphic transformations as one of the most important components of the SSS poetics based on the material of the Eastern European Scythian animal style. The researcher proved the criteria for identifying zoomorphic transformations and carried out the classification and typology of an array of images that are subjects and objects of such transformations (in the steppe version of the Eastern European Scythian animal style). The question of the Near-Asian (Hittite, Luristan) and Transcaucasian origins of the tradition of zoomorphic transformations in the Eastern European Scythian animal style was raised and the factors that determined the wide popularity of this technique in the GCC were substantiated [Kantorovich, 2002(1), pp. 20-32; Kantorovich, 2002(2), pp. 77-130].

Continuing his research on the reconstruction of the metric system of Scythian art, undertaken by D. S. Raevsky in the first half of the 1980s [Raevsky, 2006, pp. 411-416], Yu. B. Polidovich, based on the analysis of the Kelermess panther and Kostroma deer, came to the conclusion that the images of the GCC are strictly modularized [Polidovich, 1997]. The researcher justified such indicators as profileness and conventionality as the basic principles of GCC poetics [Polidovich, 2004(2), pp. 414-417].

V. A. Korenyako (Korenyako, 1998: 64-77; Korenyako, 2002: 131-188) took a special position on the issues of poetics, semantics, and pragmatics of the GCC. He proposed a theory of the origin of the Scythian animal style in the military-hunting nomadic environment [Korenyako, 2002, p. 175].

In his opinion, the primary tasks of this art were social coding and social identification of mounted warriors-hunters.

Considerable efforts have been made in recent decades to develop the theory and tools for analyzing GCC. An important role in this regard was played by the works of E. F. Korolkova, in which the researcher developed a conceptual framework for studying the Scythian-Siberian animal style on the basis of art criticism terminology [Korolkova, 1996; Korolkova, 2006, pp. 145-168]. She thoroughly grounded the concepts of style, artistic direction, iconography, theme, image, plot, motif, canon, and other terminological units for studying Scythian-Siberian art.

As the excavation progressed, the problems of systematization and classification of the growing array of GCC images became particularly relevant. The historiography of this problem from the classical works of G. I. Borovka [Borovka, 1928 ]and M. I. Rostovtzeff [Rostovtzeff, 1929] up to the present time is presented in a separate article [Kantorovich, 2014(3), pp. 156-164].

The most complex problem of the genesis of the GCC, attempts to solve which are presented in the works of B. V. Farmakovsky, M. I. Rostovtsev and G. I. Borovka, was also considered in the works of the post-Soviet period, taking into account the vast material accumulated by AR-

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cheology after the publication of these works. Already by the 1970s and 1980s, two fundamentally different conceptions of the origin of GCC were formed: polycentric and monocentric, in turn, within the framework of the latter, the Central Asian and Lesser Asian hypotheses that oppose each other remain the most relevant.

In the post-Soviet period, the Central Asian hypothesis, based primarily on the early dating of the most important monument of the Scythian - Siberian community-the Arzhan-1 mound, was again supported by V. Yu. Zuev [Zuev, 1993, p. 38-52], Ya. A. Sher [Sher, 1998, p. 226] and D. G. Savinov (Russia) [Savinov, 1998, p. 154-165; Savinov, 2012, p. 35-55]. In particular, D. G. Savinov challenged the opinion that there were no multi-figure compositions in the original (nuclear) GCC and that the latter were borrowed exclusively from Near-Asian art (which is one of the arguments of the proponents of the Near-Asian theory of the origin of GCC). D. G. Savinov contrasted this with the idea that there are externally unrelated, but internally unified compositions (single-row,multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row, multi-row). two-in-one, "combining different figures in one image" and "mysterious pictures"), which appeared, in his opinion, first of all in the Central Asian part of the "Scythian-Siberian world" (Savinov, 2012, pp. 38-51).

At the same time, D. G. Savinov, in principle, allows for a multi-vector direction of borrowing and an individual trajectory of individual images. Thus, the theme of the "fantastic predator" is supposed to return, the original origins of which, as the researcher believes, go back to the Bronze Age and are associated with the civilizations of the Middle East and its Central Asian periphery, from where "in the middle of the II millennium BC, such images penetrate into Central Asia and Southern Siberia, where they become the property of the Okunev visual tradition" [Savinov, 1998, p. 163]. After that, according to the researcher, these images in Siberia survive until the Early Scythian period and then spread westward across the steppe in the Scythian era, integrating into the art of European Scythia [Savinov, 1998, pp. 160-164]. In any case, D. G. Savinov's opinion is significant that the phenomenon of GCC is "a multicomponent phenomenon, in the addition of which different pictorial traditions took part, which concerns not only the features of style, but also individual images of various animals" (Savinov, 1998, p.132). In the post-Soviet period, the Central Asian and Chinese hypotheses of the origin of the GCC found support in the works of G. V. Shishkin. N. Kurochkina [Kurochkin, 1993, pp. 92-104], A. A. Kovaleva [Kovalev, 1996, pp. 121-127; Kovalev 1998, pp. 122-131] and E. S. Bogdanova [Bogdanov, 2004, pp. 50-56].

On the contrary, D. S. Rayevsky and M. N. Pogrebova (Pogrebova and Rayevsky, 1992, p. 35; Artamonov, 1962, p. 27-45; Lukonin, 1977, p. 11, 23-24) defended the Near-Asian hypothesis, which dates back to the works of the Soviet period (see, in particular: [Artamonov, 1962, p. 35; Artamonov,1968, p. 27-45; Lukonin, 1977, p. 11, 23-24]). P. 74-163; Pogrebova and Rayevsky, 1999, pp. 260-274; Pogrebova and Rayevsky, 2001, pp. 45-52]. In one of the articles [Pogrebova and Rayevsky, 2005, pp. 578-588] and in the above-mentioned monograph [Rayevsky, Kullanda, Pogrebova, 2013, pp. 152-174], researchers and their co-author S. V. Kullanda substantiated the idea of the origin of the Scythian animal style in the western part of the Eurasian cultural continuum based on the influence of Near-Asian art. The subsequent spread of this style to the wide expanses of the Eurasian steppes up to Southern Siberia is explained by the authors ' organic presence in its poetics of the language of Indo-Iranian singers-storytellers (the absence or secondary role of the plot composition, the repetition of the same name in different ways, etc.), which facilitated the perception of this style by other Iranian-speaking peoples of the Scythian-Siberian world. These conclusions, combined with paleolinguistic reconstructions and analysis of written sources, allowed researchers to challenge the now popular theory of the Central Asian origin of not only Scythian animals.

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but also the Scythian ethnos and Scythian culture as a whole [Rayevsky, Kullanda, Demanded, pp. 175-219].

At the same time, in the literature of the post-Soviet period, first of all in the works of E. V. Perevodchikova, a polycentric concept of the formation of the artistic direction of the GCC was also developed [Perevodchikova, 1994, pp. 58-85]. This position is shared by A. R. Kantorovich, who justifies this approach by the heterogeneity of the most important images, plots, motifs and artistic techniques that are initially inherent in most local variants of animal style; therefore, the mechanism of formation of the Scythian animal style in its European version is not a replica of the formation of Early Scythian culture as a whole, but a rather separate process that had its own internal logic, although The result of this process undoubtedly coincides with the appearance of the Scythian culture [Kantorovich, 2008, pp. 823-824]. A. R. Kantorovich questioned the existing reconstructions of the distribution of the motif of the accentuated "hump" on the back of animals as evidence of the Central Asian origin of the GCC and argued the role of this most ancient and popular motif in the world zoomorphic art as an accentuation of the movement of the animal and "animal quality" [Kantorovich, 2001, pp. 191-218].

It is significant that A. Y. Alekseev, in his fundamental monograph devoted to the chronography of European Scythia, justifying the Central or Central Asian origin of the Early Scythian archaeological culture of the Northern Black Sea region, brought the Scythian animal style beyond the indicators of this process (due to the heterogeneity of this phenomenon), although he made an exception for a number of "motifs, images and iconographic schemes" [Alekseev, 2003, p. 55]. In the context of the problem of the origin of the GCC and beyond, the issues of cross-cultural exchanges between its local variants and the influence of external artistic trends were considered. Thus, in relation to the origin and further functioning of the Eastern European Scythian animal style, Near-Asian compositional and stylistic influences were demonstrated [Kantorovich, 1998(1), pp. 78-88; Kantorovich, 1998(2), pp. 146-167], as well as powerful Greek influences that led to the Scythian-Greek cultural symbiosis [Kantorovich, 1997, p. 97-113]. The mutual influences of the animal style of the archaeological cultures of the Scythian-Siberian world - Scythian and Sauromatic-were studied (Dvornichenko and Ochir-Goryaeva, 1997, p. 4). 99-115; Perevodchikova, 2000, p. 231-237; Očir-Gorjaeva, 2005, p. 40-44; Kantorovich and Yablonsky, 2009, p. 73-99; Polidovich, 2013, p. 262-270], Uyuk and Scythian [Polidovich, 2010(3), p. 217-224]. E. V. Perevodchikova, based on the technological conclusions of R. S. Minasyan (see above), focused on the probability of Greek and Chinese production of a number of items, the images on which fully correspond to the canons of the GCC [Perevodchikova, 2009, p. 155-161], and proved the criteria for identifying foreign cultural borrowings reflected in the Scythian animal style [Perevodchikova, 2013, p. 72-77].

On the contrary, in the works of V. A. Kisel, who analyzed the products of elite Middle Eastern toreutics originating from the mounds of the Northern Black Sea Region and the Ciscaucasia of the VII-beginning of the VI century BC [Kisel, 1997, 2003], the influence of the Scythian animal style on the art of the Near East was demonstrated, caused by the desire of the masters of the Near East to satisfy the ideological and aesthetic needs of the nomadic aristocracy the Scythian world [Kisel, 2003, p. 135].

Summing up the review of publications on the subject of the Eastern European Scythian animal style, carried out from 1992 to the present in the post-Soviet space, it can be stated that the study of this local variant in the system of the art direction of the GCC is actively continued (mainly by scientists of Ukraine and Russia) within the framework of all those main problem-thematic areas

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lines that were gradually formed from the beginning of the XX century. This is primarily a tendency for a comprehensive study of certain zones, local variants and art schools of the Eastern European Scythian animal style and the entire GCC. Another actively developing area is the study of specific images, plots, motifs and artistic techniques. Monographic studies of certain categories of products decorated or decorated in the Scythian animal style are also continuing. The technique and technology of creating images in the Scythian animal style and objects designed by them are studied. It is still relevant to analyze the content of images, plots and motives of the GCC (in particular, semantic analysis), to determine the place of this phenomenon in the ideological system of the Scythian-Siberian world. Significant efforts in recent decades have been directed to solving the problems of systematization, classification and typology of images of the Eastern European Scythian animal style and the entire GCC. Finally, as before, attempts are made to reconstruct the genesis of the Eastern European Scythian animal style and the GCC as a whole, and the interaction of the Scythian animal style and other "big styles" (Assyro-Urartian, Greek, Thracian, Achaemenid, etc.) is analyzed.

LIST OF ABBREVIATIONS

ASGE-Archaeological collection of the State Hermitage Museum.

VDI-Bulletin of Ancient History.

KSIA-Short reports of the Institute of Archeology of the Russian Academy of Sciences.

IDA-Materials on the archeology of Russia.

MIA-Materials and research on the archeology of the USSR.

MIAR - Materials and research on the archeology of Russia.

RA - Russian Archeology.

SA-Soviet Archeology.

SAIPI is a Siberian association of researchers of primitive Art.

SGE-Messages of the State Hermitage Museum.

ESA - Eurasia septentrionalis antiqua. Helsinki.

list of literature

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Artamonov M. I. Proiskhozhdenie skifskogo iskusstva [The origin of Scythian art].

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Babenko L. I. On an iconographic version of the griffin image in Greek-Scythian toreutics // Antiquities, 2012.

Бандрiвський М. С. Про час появи найранiших зразкiв скiфського звiриного стилю на заходi Украiни // Бiлське городище в контекстi вивчення пам'яток раннього залiзного вiку Европи. Poltava, 1996.

Бандрiвський М. С. Образотворчi градицiï на заходi Украïнського Лiсостепу у VII - напочатку VI ст. до нар. Хр.: витоки i причини трансформацiï // Археологический альманах. N 21. Fine arts in the archaeological heritage. Donetsk, 2010.

Belinsky A. B., Kantorovich A. R., Maslov V. E., Reinhold S. Kavkaz i Abkhaziya v drevnosti i v srednevekovye: vzaimodeystvie i prestavstvennost ' kul'tury [The Caucasus and Abkhazia in Ancient Times and in the Middle Ages: interaction and continuity of Cultures]. The Fourth Abkhazian International Archaeological Conference. Abstracts of reports. Sukhum, 2013.

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Bidzilya V. I., Polin S. V. Scythian royal mound Gaimanov's Grave. Kiev: Skif Publishing House, 2012.

Bogdanov E. S. Problema proiskhozhdeniya obraza predatnika, curled up in a ring, in the "eastern province" of the Scythian world / / Archeologiya, etnografiya i antropologiya Evrazii. 2004. N 4.

Bogdanov E. S. The image of a predator in the plastic art of nomadic peoples of Central Asia. Novosibirsk: IAE SB RAS Publ., 2006.

Boltrik Yu. V. Vepr - one of the symbols of the Scythian Ares. Khazars. Slavs. Ancient Russia. International Conference in Memory of M. I. Artamonov. St. Petersburg, December 9-12, 1998. Abstracts of reports. SPb., 1998.

Boltrik Yu. V., Fialko E. E., Cherednichenko N. N. Berdyansk kurgan / / RA. 1994. N 3.

Vasiliev S. A. On the question of the origin of the plot "predator curled up in a ring" in the Scythian animal style. Catalog of images. SPb.: Publishing House of SPb.GU, 2000.

Volnaya G. N. Prikladnoe iskusstvo naseleniya Priterechya sredni I thys. B.C. Vladikavkaz: Iriston, 2002.

Gavrilyuk N. A., Grishchenko V. N., Yablonovskaya-Grishchenko E. D. Avifauna of Scythian toreutics // Музейнi читання. Матерiали науковоï конференцiï "Ювелiрне мистецтво - погляд крiзь вiки". 16 лютого 1999 р. Киiв, 1999.

Gavrilyuk N. A., Grishchenko V. N., Yablonovskaya-Grishchenko E. D. Avifauna of the Scythian Toreutics / / Bosporan phenomenon: colonization of the region, formation of polis, formation of the state. Proceedings of the International Scientific Conference, St. Petersburg, 2001 (2).

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Iconographic aspects of the animal style of the forest-steppe Don region of the V-beginning of the III centuries BC. Issue 3-4, 2000.
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Grakov B. N. Zametki po skifo-sarmatiskoy arkheologii [Notes on Scythian-Sarmatian archeology]. MIA, N 130. Moscow, 1965.

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Zuev V. Yu. Izuchenie zhabotinskikh grav'rovki i problema razvitiya zverinogo stilya v Evropeyskoy Scifii na rubezhe VII-VI vv. B.C. Izuchenie zhabotinsky engravings and the problem of the development of animal style in European Scythia at the turn of the VII-VI centuries BC. Issue No. 6. St. Petersburg, 1993.

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Kantorovich A. R. Animal style of steppe Scythia of the VII-III centuries BC. diss..... Candidate of Historical Sciences, Moscow, 1994.

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Kantorovich A. R. K voprosu o skifo-grecheskom sinteze v ramkakh zverinogo stilya stepnoy Scifii [On the Scythian-Greek synthesis in the framework of the animal style of Steppe Scythia].

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Kantorovich A. R. On an important motif in the art of the Scythian-Siberian animal style. Dmitry Sergeevich Rayevsky. Apotheosis. Sofia, 2001.

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Kantorovich, A. R., Classification and typology of elements of "zoomorphic transformations" in the animal style of Steppe Scythia, Strukturno-semioticheskie issledovaniya v arkheologii, vol. 1, Donetsk, 2002 (2).

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Kantorovich A. R. Istoki i variatsii obraza baranontitsa (gryphobaran) v ranneskifskom zverinom stile [The origins and variations of the image of baranontitsa (grifobaran) in the Early Scythian animal style]. Collection in memory of M. P. Abramova. MIAR. Issue 8. Moscow, 2007(1).

Kantorovich A. R. Konskie nalobniki / nanopods with a loop and a hook and their connection with some motifs of the Scythian-Siberian animal style / / Rannii zaliznyj vik Evrazii: do 100-rychcha vid dnya narozhennya Oleksiya Ivanovicha Terenozhkin. Матерiали Мiжнародноi науковоi конференцi Киев-Чигирин, 2007(2).

Kantorovich A. R. O nekotorykh predmetakh konskogo oborudovaniya s gorodishche "Chaika" [On some items of horse equipment from the Chayka settlement]. Collection of scientific works, Moscow, 2007 (3).
Kantorovich A. R. Once again on the problem of the ancestral homeland of the Eastern European Scythian animal style // Materials on the study of the historical and cultural heritage of the North Caucasus, Vol. VIII, Krupnov Readings 1971-2006, Moscow, 2008.
Kantorovich A. R. Plot of a standing/walking deer in the East European Scythian animal style // Dialog of urban and steppe culture in the Eurasian space. Proceedings of the IV International Conference in memory of MSU Professor G. A. Fedorov-Davydov. September 30-October 3, 2008 Donskiye drevnosti [Don Antiquities], vol. 10, Azov, 2009 (1).

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