While reading myths, Vedic sources, studying signs and symbols, and based on the Primordial Knowledge given in the books by Anastasia Novykh, I have noticed that some images frequently used in all these sources (despite the fact they are depicted and called differently) symbolize one and the same concept – the one that may be figuratively referred to as the Bridge. I wrote on this subject in my earlier article Chinvat. The Bridge over the Abyss, but for those who haven’t read it I should briefly explain: what is meant here is the symbolic Bridge-Passageway signifying the spiritual Knowledge that helps human personality pass from the material world into the spiritual world – the world of God. It may otherwise be said that “the Bridge is what helps human personality merge with the Soul”.
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This article contains brief review and analysis of Trypillian anthropomorphic plastic art (hereinafter referred to as TAPA) or, in other words, anthropomorphic items made of burnt clay and associated with Cucuteni-Trypillian archaeological culture. The term anthropomorphic originates from the Greek word anthropomorphos and means “having a human or humanoid image”.
The purpose of this work is to familiarize readers with the aforesaid original culture, as well as to thoroughly extend knowledge of such a unique cultural phenomenon as TAPA. For this we shall analyse it not only from the viewpoint of mainstream science, but also from the perspective of sacral knowledge about the human nature as presented in the books by Anastasia Novykh.
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