Introduction

Ancient Turkic sculpture includes figurative images of a person with a vessel in one hand (with or without weapons), sculptures of only a human head or face, as well as a few figures with a vessel in both hands raised to the chest. In many cases, faces are shown stylized. Often, the eyebrows form a single relief with the nose. Sometimes the T-shaped shape of the eyebrows and nose is combined with large eyes. Due to stylization, the images of the faces of the statues can not be considered either realistic,or even portrait. However, it seems that the stylized elements had a certain meaning.

Distribution of the T-shaped bas-relief of the eyebrows and nose and the origin of the technique from a technological point of view

The T-shaped image of the eyebrows and nose, which is the same as on the statues, is noted by researchers on cast bronze "faces" [Sher, 1966, p. 67; Kyzlasov and Korol, 1990, p. 129], on wooden Eezi heads* [Ivanov, 1979, p. 185-186, fig. 179]. Combined bas-relief of the eyebrows and nose is common in coroplasty and toreutics of the medieval East [Meshkeris, 1962, Tables VI, 69, 77; X, 112; XVI, 299; XVII, 304, 305; XVIII, 315, 317; XXIV, 364; XXV, 365, etc.; Marschak, 1986, Abb .32, 33, 193, 198; Trever and Lukonin, 1987, fig. 26 et al.] (see Figure 5). In the works of coroplastics and toreutics of Sogd and Iran, on the golden jug from Nagy-Saint-Miklos (Hungary), medieval cast "masks", there is also a combination of the bas-relief" eyebrows-nose " and large figures characteristic of sculptures (especially Western Turkic ones**). eye [Meshkeris, 1962, Tables XVII, 304, 305; XVIII, 315; XXIV, 364; XXVIII, 374; XXIX, 378, 379; Trever and Lukonin, 1987, figs. Korol, 1990, fig. 43, 2; Haussig, 1992, Abb. 114] (see Fig. 4).

The technique of T-shaped stylization of eyebrows and nose has become widespread in time and space. Examples of its use are heads from Lepenski Vir (Serbia), sculptures from Ancient Mesopotamia, plastic of Celts, Mixtecs, etc. This method of representation could be used when working with various materials, but it seems that it was natural for plastic materials, from which images were made by modeling (molding), molding, casting. When casting by the conventional casting method, "the relative simplicity of the shape or model, the absence of complex profiling or surface cutting" were required for uniform filling of the mold with molten metal [Vainshtein, Korenyako, 1988, p.48]. This condition had to be met by matrices for making clay figures. In both cases, the combination of some details of the image was technologically justified***. Can

* Eezi-the spirit-master of the tambourine among the Altaians.

** Built within the Western Turkic Khaganate.

*** As for the wooden images of Eezi, their iconography probably goes back to metal prototypes. This, in our opinion, is evidenced by metal overlays covering the eyebrows and nose "in the form of a single figure", as well as the moustache, mouth, and beard [Ivanov, 1979, pp. 98-99, 101].

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It can be assumed that the technique of T-shaped bas-relief images of eyebrows and nose on ancient Turkic stone sculptures was borrowed from the technologies of manufacturing art products from plastic materials. Modifications of this technique on the sculptures were counter-relief and contour images of the merged figure of the eyebrows and nose.

Analysis of morphology of T-shaped nose and eyebrow images on ancient Turkic sculptures

In the combined bas-relief of the eyebrows and nose of ancient Turkic sculptures, Ya. A. Sher emphasized the method of sculpting eyebrows. "Stylization of eyebrows," he notes, " is a kind of technical and stylistic technique, with the help of which the eyebrows are depicted (one. - L. E.) a wavy line with an internal bend on the bridge of the nose and external bends-above the eyes; the ends of the eyebrows are given an unnaturally mannered appearance of upward-curved lines. Sometimes (united - L. E.) eyebrows are depicted separately, but more often-in a single relief with the nose " [1966, p. 66]. In some sculptures, the line of fused eyebrows clearly appears in the general relief of the eyebrows and nose [Ibid., Tables VII, 31; VIII; IX, 39] (see Figure 1).

The above observation by Ya. A. Sher allows us to interpret the T-shaped image of the eyebrows and nose on the ancient Turkic sculpture as a stylization of the eyebrows drawn together on the bridge of the nose.

Ya. A. Sher suggested that the stylization of eyebrows on sculptures could have a historical meaning [Ibid., p. 67]. In confirmation, he cited information from the Chinese chronicle "Beishi" about the special attitude to the eyebrows of some residents of the state of Yueban. The latter" according to the custom of the Turkistans " trimmed their eyebrows and smeared them with paste for shine [Bichurin, 1950, p. 259]. Echoes of this custom, according to Ya. A. Sher, are found in the Kazakh "Legend of the dead and the living and their friendship". In it, the dead hero is characterized as "a young man with perfectly drawn eyebrows" (Valikhanov, 1985, p. 66). There are other examples that show that the Turkic peoples of different epochs had ideas related to eyebrows. Thus, in the ancient Turkic epitaph in honor of Kultegin, Bilgekagan complains that the eyes and eyebrows of his subjects will "spoil" from crying [Malov, 1951, p. 43]. The hero of the Turkmen epic "Ger-ogly" sings about the beauty of his beloved: "I would make the dust from under her feet with eyebrow paint" (Ger-ogly, 1983, p.436). In Central Asia, there was a traditional female decoration koshitillo (from Turk, kosh-eyebrows) with the image of eyebrows drawn together on the bridge of the nose (Sukhareva, 1982, p. 100, Fig. 25], etc.

The meaning of joined eyebrows among the peoples of Central Asia

O. A. Sukhareva tried to explain the significance of joined eyebrows in the cultures of Central Asian peoples. "Eyebrows of this shape," she writes, " were considered one of the signs of beauty in the local sense (here and further highlighted by me - L. E.), and this is an ancient tradition. ...They are depicted on the heads crowning the lids of ossuaries, on the face depicted in the form of a bas-relief on a terracotta vessel from Kafyrkala, on medieval book miniatures: these are the eyebrows of a beautiful woman to whom the poet Navoi reads poems; the one who is handed the message of Sheibanikhan; a beautiful young man holding a falcon"

Stylization of details of the face of ancient Turkic statues on medieval images. 1, 2-ancient Turkic stone sculptures (according to [Sher, 1966]); 3-ceramic mask of a guardian demon (according to [Jisl, 1970]); 4-bronze belt buckle (according to [Kurmankulov, 1980]); 5, 6-details of silver dishes (according to [Marschak, 1986]); 7-image on a ceramic dish (according to [Danilenko, 1991]); 8-detail of a mural (according to [Belenitsky, 1973]); 9-iron helmet (according to [Gorelik, 1993]); 10-bronze mask (according to [Dautova, 1980]).

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[Ibid., p. 118]. However, this interpretation is unlikely to be exhaustive. For comparison, we will cite the belief recorded by p. Karutz at the beginning of our century on Mangyshlak, according to which "fused eyebrows bring happiness: a man will have a beautiful wife, and a woman will be loved by her husband" [1910, p.135].

Joined eyebrows in medieval images of warriors and demons

When determining the meaning of the joined eyebrows on ancient Turkic sculptures, it is important to take into account that a significant part of such sculptures depict warriors. The technique in question was embodied in other medieval images of warriors. Connected eyebrows are drawn on the helmet of a defeated knight in one of the battle episodes of the wall painting of Panjikent [Belenitsky, 1973, il. 28, 29] (see Figure, 8). It can be assumed that they are transmitted by plates of the type of nanosheet eyebrows on helmets of the first millennium AD from the steppes of Eurasia and from neighboring territories [Gorelik,1973, il. 28, 29]. 1993, fig. 7, 5,14, 21, 23]. The plates seemed to duplicate a part of the face of a ready-to-fight or fighting warrior. An illustration of this is a bronze product depicting the head of a man in a helmet from the Kenkhinsky burial ground (North Caucasus) of the VII-XII centuries. [Dautova, 1980, p. 106] (see figure 10).

On some plates in the form of nanosheet eyebrows, the tips of the eyebrows are slightly curved upwards, as in sculptures [Gorelik, 1993, Fig. 7, 27, Fig. 9, 27] (see Figure 9). It is noteworthy that images of feline predators are a reflection of the method of combining the nose and eyebrows in toreutics. The eyebrows and nose of these animals are stylized in a single relief (Marschak, 1986, Abb. 24, 196, 197) (see Figure 6). Using a similar technique, details of the face of an androcephalic lion killing a snake are depicted on a 13th-century ceramic dish from Chersonesus (Danilenko, 1991, Fig. 2, 11) (see Fig. 7).

Frowning brows drawn together on the bridge of the nose, combined with bulging eyes, can be seen in medieval sculptural and hand-drawn images of warriors (militant deities) and monsters (demons) from China, Korea, Japan, etc. [Haussig, 1992, Abb. 263, 301, 304, 305, 358 etc.].

It is important that masks of guardian demons were also found in the ancient Turkic monuments of Tonyukuk and Kultegin [Jisl, 1970, Taf. 1, 2-4]. The mask from the Kultegin monument is modeled after Chinese images of taote (the greedy beast). his brows were drawn together, his eyes bulged, and his mouth was open and snarling. Similar masks from the Tonyukuk monument resemble the faces of ancient Turkic statues (see Figure 3).

Epic motif of drawn eyebrows

What could the narrowed eyebrows mean in the guise of a medieval warrior? In search of an answer to this question, let's turn to the heroic epic.

Shifted (joined) eyebrows on the face of the hero are mentioned in the epics of some Turkic-speaking peoples. So, in the Altai heroic epic "Maa-dai-Kara", the wife of a hero informs him about the birth of a son who promises to become a mighty hero:

He doesn't have a navel, [his belly] is smooth, " she said. -
His eyebrows are drawn together, " she said., -
Skins of sixty leopards,
Kicking him around,
discards it

[Maadai-Kara, 1973, p. 269].

In olonkho, the combined eyebrows of heroes are sometimes compared to predatory furry animals. The sullen appearance of the hero of the Yakut epic Nyurgun Bootura is described as follows:

his long nose, it turns out, looked like
a millet bone of the front leg
a zealous horse;
his long eyebrows were like a
pair of
folded together at length

[Nyurgun Bootur Stremitelny..., 1947, p. 103].

One of the heroic signs of the Hunan-Kara baby in the Tuvan heroic tale of the same name is fused eyebrows:

Between the black brows on his forehead
Black and white fur grew
Three-year-old Grozny Leopard

[Tuvan Heroic Tales, 1997, p. 83].

* Cf.: the long nose is also emphasized in the portrait of Manas: "If you look at his nose, it looks like the scabbard of a sword" [Manas, 1988, p. 430]. The above passages hardly contain a hint of the Caucasian features of the hero. In olonkho "Nyurgun Bootur Stremitelny" it is said that the Exekyu bird, whose shape was taken by a shaman friendly to the hero, has a long pointed beak, similar to a peshna-crowbar (peshnya, crowbar-tools for breaking ice) [p. 151]. A Kazakh proverb says: "The horse has lips, the hero has a nose" [Toktabai, 2004, p. 80]. Apparently, the long bas-relief of the nose, characteristic of some ancient Turkic sculptures, should also be attributed to stylistic features.

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In the Khakass heroic epic "Altyn-Aryg", fused eyebrows distinguish the evil Pora-Ninchi (Altyn-Aryg, 1988, p.524). These are the eyebrows of Pora-Ninchi, the heroine of the epic "Ai-Huuchin" [Khakass Heroic Epic..., 1997, p. 223]. This Time-Ninchi shows some heroic features. She is "unsupported by the horse" and is preparing to fight Khan Mirgen if her husband is defeated by him [Ibid., p. 261]. As for the characterization "with fused eyebrows", indicated in the description of another evil female character Haraninchi, V. E. Mainogasheva notes: "A woman with fused eyebrows in the epic is usually a native of the underworld, she is a demonic being" [Ibid., p. 443].

In the Kyrgyz heroic epic "Manas", the eyebrows of the enemy strongman Agat are "Like black dogs lying with their paws between their legs" (Manas, 1988, p.385). Joloi's brow is compared to a formidable hunting bird (Manas, 1990, p.395), while Kongurbai's brows are "like vultures during molting" (ibid., p. 352). Often in the epic we are talking about (terrible) frowning brows [Koblandy-batyr..., 1975, pp. 336,362,364]. In the Tajik folk epic "Gurugli", people point to such a sign of the power of the hero Avaz: ".. the veins on his forehead / Hang over his eyebrows" [Gurugli, 1987, p. 400] or "Every vein on his forehead... / Trembles with rage" [Ibid., p. 388]. The veins on the forehead of the raging Hongor swell up [Jangar, 1990, p. 214], while the enraged Han Solo "has two eyes like black lakes turned out; his bare forehead hangs down" [Nikiforov, 1995, p.78]. It draws a chill from the face of an angry Khan Mergen "with his brows drawn down, his eyes filled with blood" [Ibid., p. 175].

The meaning of the motif of drawn eyebrows in the epic

Although in the Turkic epic there is no interpretation of the drawn eyebrows, their meaning becomes clear from the description of anger-the rage of the hero. Rage in the epic is characterized through external manifestations (Gatsak, 1989, pp. 25-36; Ermolenko, 2003a). The power of affect is conveyed through metaphors of fire or, conversely, extreme cold. The face of the hero is ablaze with flames, and flames or chilling cold emanate from his eyes. Anger and rage are outwardly expressed in extreme bodily tension: the hero "swells up like a mountain", his back arches like a birch tree, his muscles ring like a taut bowstring, his hair rises on the crown of his head; he "changes his face terribly", etc. bulging eyes*. Thus, the expression of the epic hero's face is a grimace of anger.

Epic-poetic technique of likening angrily drawn-together eyebrows to an onion

In the Indian epic tradition, frowning is clearly associated with anger: "And frowning on his face - a clear sign of anger - the Pandava blew into a large conch devadatta" (Mahabharata, 1993, p.47). In Somadeva's Ocean of Tales (XI century), an angry frown is compared to a drawn bow. The heroes of one of the legends "with their faces distorted by anger, stood silently, frowning, as if hinting at the drawn bows" [1982, p. 321]. Another legend says: "The eyebrows on Vayupatha's face twisted, and it seemed that anger itself drew a bow to the destruction of enemies" [Ibid., p. 361]. It is interesting that in the" Ocean of Legends", according to the description of the beauties, they resemble soldiers who are angry, i.e. intoxicated by the battle: "... the beauties from hops, as if with impending anger, began to redden their eyes and wrathfully break their eyebrows... "[Ibid., p. 379]. Similarly, in the Arabic folk novel-epic Sirat Angara, Ardashir drinks wine to Abla "until her cheeks are red and her eyebrows arch like a drawn bow. And when the wine went to her head, she despised death and began to think about how best to kill the tsarevich" [Life..., 1968, p. 314].

The eyebrows of the beauties in the Shahnameh are compared with the drawn bows (Firdousi, 1993, p. 176). In" Ger-ogly", Kambar, posing as a wandering ashug, sings to the beautiful Harman-Dyala: "Your eyes are murderers, your eyebrows are onions" [1983, p. 712].

Comparison of female eyebrows with weapons is not accidental-epic beauties were the reason for the exploits of heroes, sometimes they opposed them in duels.

The archaic heroic epic reveals a close semantic connection between the images of a woman, "frenzied ferocity", and"bloody duel". OM. Freudenberg wrote that in primitive consciousness "... the productive (sexual. - L. E.) act is semanticized as a duel. < ... > On the basis of this semanticization, a rich military-erotic metaphor is subsequently created" [1997, p. 74]. So, in eastern poetry, the epithet "bloodthirsty"is applied to a beauty. Isn't that why the Eastern ideal of beauty included drawn eyebrows, and portraits of beauties, images of love couples decorated the handles or scabbards of Iranian daggers and sabers of the mid - XVIII-early XIX centuries? [Ivanov, Lukonin, Smesova, 1984, il. 89, 90, 96].

Wide-open eyes as a sign of the epic hero's anger

The huge eyes of epic heroes should be considered not only a detail of their gigantic appearance, but also

* Compare: M. M. Bakhtin wrote that bulging eyes "indicate purely physical tension" [1990, p. 351].

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a sign of anger. It is said about the Olonkho bogatyrs that their "round eyes are like twisted rings of a bridle" [Nyur-gun Bootur Stremitelny..., 1947, p. 103], or they look like overturned copper cauldrons [Obstinate Kulun Kullustuur..., 1985, p.344]. The eyes of bogatyrs are compared to black cups (Altyn-Aryg 1988, p. 281), large bowls (Ger-ogly 1983, p.593), as well as black caves (Manas 1988, p. 409) and lakes (Nikiforov 1995, p. 76).

It can be assumed that the gaping huge eyes (likening them to caves, wells, etc.) correspond to the idea of the hero's ability to "absorb" the enemy with a glance. For example, about Manas it says:

His eyes are like the hollows of lakes.
If he looks, he'll be furious.
It looks like it will swallow everyone it sees

[Manas, 1988, p. 442].

It is no accident that the portrait of Manas emphasizes a large mouth and deep-set eyes (Manas, 1990, p. 443). In the epic, there are also apparently later, realistic descriptions of the eyes that widened in anger. The bogatyrs of Manas, preparing to cut with sabers, "rolled out their eyes" (Manas, 1988, p. 476). In the Altai heroic fairy tale, the angry Yerlik has a " beard... protruding like fangs; two eyes... turned out " [Nikiforov, 1995, p. 63]. The heroine of the Tuvan heroic legend, the heroic maiden Bora-Sheley, is described as follows: "Angry-angry, it turns out, / Clear as a lake, eyes / Looks, frowning; / Clear... eyes / Looks, vykatya-vypucha [them]" [Tuvan heroic tales, 1997, p. 347].

The Mahabharata explains the phenomenon of enlarged warrior eyes: "And those two heroes in battle showered each other with insults and devoured each other with eyes that widened in rage..." [1990, p.43].

From what has been said, it follows that the pictorial techniques characteristic of ancient Turkic sculptures (eyebrows drawn together on the bridge of the nose and exaggeratedly large eyes) correspond to the formulaic hyperbolic descriptions of the face of an angry hero in various epic traditions.

Hypothesis testing using ethology data

The reality of epic descriptions of physical manifestations of anger-rage, although hyperbolized, is confirmed by modern ethological studies. Human ethology studies emotional facial expressions and gestures (Eibl-Eibesfeldt, 1997). Much attention is paid to facial expressions due to their crucial role in communication [Ibid., p. 619]. According to I. Able-Eibesfeldt, the expressive movements accompanying the main emotions that are equally experienced everywhere (rage, anger, sadness, joy, surprise, disgust) are the same in all cultures. The commonality is probably explained by the fact that emotions are accompanied by certain physiological and muscular reactions. Facial expressions are controlled by the limbic system and the neocortex. The right hemisphere is responsible for the ability to perceive the emotionality of facial expressions and respond emotionally to it [Ibid., p. 663]. Observations of deaf-and blind-born children suggest that many movements expressing anger may be phylogenetic adaptations [Ibid, p. 528]. Such movements include, for example, drawing the eyebrows together. Angry facial expressions in different human cultures are also achieved through a fixed," annihilating " or threatening look. At the same time, the eyes expand, in particular, due to the fact that the upper eyelids rise. The white of the eye becomes visible and the effect of sparkling eyes is created [Ibid, S. 532, Abb. 5.6; 655]. It should be noted that when the eyes bulge, this effect is naturally enhanced. It is interesting that computer modeling of facial muscle movements produced expressions that were not recorded in reality, but were revealed on the material of art. In the schematic table of combinations of actions of the forehead and brow muscles compiled by P. Ekman, a variant with tightly reduced to the bridge of the nose and simultaneously raised eyebrows is presented. According to P. Ekman, such a combination, known from visual data, is not natural [Ibid., p. 632]. I. Able-Eibesfeldt discovered it as an expression of rage in (made-up) kabuki actors.

I. Able-Eibesfeldt correlates the manifestations of anger and rage with aggressive, threatening behavior. The researcher drew attention to the fact that the faces of ancient and traditional sculptural images of apotropaic purpose express a threat with the help of drawn eyebrows, bulging eyes, grinning mouth, etc. [Ibid., P. 123, Abb. 2.56; 125, Abb. 2.58; 671, Abb. 6.75, 6]. Observations of ethologists are developed in the works of some researchers of primitive and ancient art. R. Nenova-Merdzhanova, for example, analyzes anthropomorphic images of an apotropaic nature that existed in the Roman era - bronze vessels for olive oil in the form of heads, busts, figures, etc. The faces of apotropeans show drawn-together brows hanging over the eyes, large, wide-open eyes, a slightly open mouth or downturned corners of the lips of a closed mouth, a huge or ugly nose [Nenova-Merdjanova, 2000, p.303-304].

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The problem of the existence of the epic in the ancient Turkic era

Comparison of the iconography of the statues with the data of the heroic epic requires justification of the fact that the epic, the corresponding epic formulas and, finally, the epic environment* existed in the ancient Turkic era. M. P. Gryaznov also compared the plots of various time and cultural visual monuments of the second half of the first millennium. B.C.-I millennium A.D. with the plots of the modern Turkic-Mongolian epic [1961]. Thus, he recognized the unity of the epic tradition of the steppe peoples for more than two millennia. On the basis of epic-pictorial correspondences, the researcher not only connected the composition of the foundations of the heroic epic with the era of the early nomads, but also characterized the circle of ancient epic plots**.

Let us remind you that the motifs of narrowed brows and widened eyes discussed in this article were common in multi-lingual and multi-stage epic traditions. The fact that the ancient Turks "recognized" signs of anger, similar to epic ones, is evidenced by a Chinese source. In the Suishu, there is a description of the feat of the Chinese warrior Yu Gyulo, who intimidated the Turks in battle (589) with his ferocious appearance. Yu Gyulo with several horsemen attacked the Turks. "At the same time, he opened his eyes wide and shouted so loudly that all the opponents lost their courage" *** [Liu Mautsai, 1958, p. 120]. In general, there are reasons to believe that the ancient Turks associated courage and bravery with military rage and ferocity.

Conclusions

The use of a combined image of eyebrows and nose on ancient Turkic statues of warriors can be interpreted as a stylization of the eyebrows drawn together on the bridge of the nose. The narrowed brows, as well as the large eyes, apparently served to create the image of a fierce, furious hero.

It is characteristic that the use of these stylistic techniques was also reflected in ancient Turkic statues without weapons and breast sculptures (see Figure 2). Perhaps such sculptures, depicting the expression of anger on the face, were associated in ancient times with images of warriors. Initially, these sculptures could have been represented by weapons. Since we believe that the statues of medieval nomads were painted and/or for the sake of naturalness, clothes were put on them (especially on the chest), the weapons could have been painted or hung on top of the clothes [Ermolenko and Kurmankulov, 2002, pp. 86-87; Ermolenko, 2003b]. The weapon is not shown on the ancient Turkic statue in the Khenderge River valley (Tuva), depicting a man with two human heads in his hands (Kyzlasov, 1964, Fig. 3). In addition, the fence near which this original figure is installed does not have balbals. According to L. R. Kyzlasov, the Khendergen sculpture depicts a warrior with trophies - enemy heads [Ibid., p. 35]. Indeed, taking into account the data of Chinese chronicles about military loot of this kind, pictorial and folklore analogues [Ermolenko, 2004, p. 60], it is hardly possible to assume a different interpretation of the image. In this case, the absence of weapons in the iconography of ancient Turkic statues, as well as balbals with fences around figurative images, cannot be a reason for unconditional denial of the battle attribution of the image. It should be recognized that due to the rather widespread use in ancient and medieval art, the use of T-shaped images of eyebrows and noses is not specifically Turkic. The technique of combining the bas-relief of the eyebrows and nose was later embodied in Kipchak and Polovtsian sculpture, although it was probably interpreted differently. Since the image of large eyes on ancient Turkic statues is obviously stylized, it can hardly be considered as an absolutely anthropological feature.

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** Cf.: B. M. Meletinsky recognized the existence of a heroic epic among the Scythians, Sarmatians, ancient Turks and Mongols, but did not find a "Scythian heritage" in the epic of the Siberian Turks [1963, pp. 248-249].

*** The cry is also one of the manifestations of heroic anger in the epic.

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The article was submitted to the Editorial Board on 21.04.05.

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