The Cucuteni-Trypillian civilization: anthropomorphic plastic art and its sacral meaning

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.

Before we start analysing TAPA, it is necessary to provide brief characteristics of the culture discussed.

Part 1. General. Cucuteni-Trypillian culture

А) Brief history of the culture discovery

In 1884, Romanian researcher Theodor Burada found the first artefacts of this culture near the village of Cucuteni, Romania. Almost simultaneously with this event, in 1893 the archaeologist of Czech origin Vikentiy Khvoyka (Chvojka) found similar artefacts in the territory of Kiev which at that time was a part of the Russian Empire.

Vikentiy Khvoyka

This is the official version of the history of the culture discovery. To ensure the information completeness, several little-known facts should further be added. One fact is that as long ago as in the 1750s excavations were carried out in Western Ukraine for the purpose of replenishment of a private collection. Another fact is that in 1822 VertebaCave was accidentally found, where Trypillian artefacts were discovered as well.

Finishing this subsection, let me only say that today there are over 4,500 places where artefacts of this culture have been found.

B) Brief history of the civilization discovery

“This is impossible because it is never possible!” well-known archaeologist Tatyana Passek exclaimed, quoting the famous writer, when she was listening to the military topographer Konstantin Shishkin telling about an incredible discovery he had made in the 1960s in Ukraine not far from Uman. The thing is that she was well familiar with the area due to excavations of the Trypillian culture settlements. Tatyana dedicated her entire research activities to studies of this culture, spent numerous field seasons at the excavation sites, wrote almost a hundred research works, and defended a candidate’s and then a doctor’s thesis on the Trypillian culture. However, now something unbelievable occurred. Major Shishkin asserted that, based on aerial survey data, not far from Uman, in particular near the village of Maidanetske, a contour of a large ancient settlement could be observed from the air. Tatyana Passek was listening to his story with distrust because a group of small Trypillian settlements had been already partially studied in that very area. She wondered what that mega settlement was, if any.

Nevertheless, the information was taken into account. Furthermore, it was decided to carry out magnet survey of the area, the results of which were compared with those of the excavations, and the information was confirmed! It turned out the aforesaid group of small Trypillian settlements excavated earlier were not separate settlements, but components of a single mega settlement which occupied an area of about 270 hectares. After such a discovery, researchers started speaking of not simply a culture, but of the existence of a whole ancient civilization.

Later on archaeologists found other similar mega settlements built according to a certain radial layout, e.g. Nebelevka – 300 ha, Dobrovody – 250 ha, Talyanki – 400 ha. As of today, about 30 giant Trypillian settlements are known, the area of which is over 100 ha each.

The above information expressly indicates that it would be a mistake to have a finished idea of ancient history, since at any moment an “accidental” discovery might overthrow all our views of the antiquity!

C) The area of distribution

Tribes of the Trypillian culture had a settled way of life, while their economy was based on black earth farming.

The area of Cucuteni-Trypillian culture distribution

D) Chronology of the Trypillian culture

Since this culture had existed for several millennia and covered an enormous territory, researchers began to distinguish the following periods or stages for systematization and more convenient studies:

From the Encyclopaedia of the Trypillian Civilization, V.1, Кiev, 2004

This general chronological table is based upon data obtained after studies of artefacts by means of radiocarbon dating.

The next table composed after radiocarbon dating calibration (for the territory of Ukraine) demonstrates how the Trypillian culture was developing by stages:

As we can see in the table above, as tribes were settling in vaster territories, local versions of the culture, i.e. certain branches, transformations and local peculiarities, emerged. According to historians, this took place at the stages Trypillia АIII – Trypillia ВІ and can be traced, first and foremost, by the extant artefacts of material culture.

For instance, one of the major sources of information is ceramics. We can track how it was changing, namely its shape, composition of the clay paste, and certainly the ornament and its application technique. It is important to note that by means of ornaments, signs and symbols the creators of ceramics not only recorded economic motifs of their life in the times when there was no written language, but also preserved and conveyed sacral knowledge about the universe, the human nature and structure.

As for the application technique, in some settlements drawings were applied with mineral wax paints on the burnt surface of items, whereas in other settlements ornaments were applied to raw clay. It is interesting that archaeologists know some cases when in one and the same settlement some inhabitants made ceramics with drawn ornaments, while others made it with painted ones. Most probably, this was a special tradition that was forming during a certain period of time in a certain local way.

Here I recall a situation observed in Western Ukraine, more specifically in Zakarpatye. It is known that in different times this region was a part of various states, which fact has left its historical imprint. In many local villages, in the territory of one and the same rural community, often even very close to each other, there may be two churches – an Orthodox one and a Catholic one, and may even be the third one – an Uniate. At that, inhabitants of such villages attend different churches and all reckon themselves Christians, just like their forefathers did, and this does not prevent them from living peacefully next to each other and work together for the benefit of their community.

Besides transformations in material culture, other changes surely took place as well, e.g. in the language. Some linguists say Trypillians of the later stage hardly understood Trypillians of the early stage, because the language of communication in that land had changed like everything in this world. The period of such changes is usually about 500 years. Let’s recall that this culture existed for over 2000 years, moreover Trypillians had no written language. Most probably, in the course of time local worldview underwent certain transformation as well, and we should also take into account the cultural influence of tribes who had other worldviews, which manifested itself mostly at the frontier of the Trypillian land, especially at that with the steppe region. By the way, at the frontier people often entered into interethnic marriages.

Thus, as of today historians distinguish about 60 local versions (types) of this culture. It should be mentioned these local types have been marked out in the context of the entire period of the culture existence, i.e. they did not function simultaneously. Most probably, some types gave way to others, transformed from one type into another in time and under the influence of certain life circumstances. Hence, we may distinguish early, middle and late local versions of this culture.

A map with indication of late local versions (types) spread in the territory of Ukraine (an image from the National Museum of the History of Ukraine)

E) Conclusions on Part 1:

• Historians have been studying the Trypillian culture for over 100 years.

• Trypillians had a settled way of life, while their economy was based on cattle-breeding and black earth farming.
• The area of distribution of this culture was rather vast and partially covered the territory of three modern states – Romania, Moldova and Ukraine.
• As of today, the timeline of the culture existence may be determined as follows: the initial stage – 5400 years BC, complete decline and extinction – before 2750 BC. As we can see, this culture existed for more than 2.5 millennia. For convenience in studies, the whole period of the culture existence is divided into phases.
• Trypillian ornaments reflected a peculiar worldview of those who created them.
• As of today, historians distinguish about 60 local versions of this culture, based on which it may be asserted this cultural community was rather heterogeneous and diverse by its ethnic structure. Nonetheless, it was a community quite monolithically bound by common economic, psychological, religious, ideological, and cultural factors.

Part 2. Overview

The Trypillian culture general description has been given In Part 1, so that readers could more easily understand such a bright and distinctive phenomenon as Trypillian anthropomorphic plastic art to which we are now proceeding. Let us go point by point, like in the previous section.

А) Origin

A tradition to make clay figurines was not unique for Trypillians whose figurines had their “relatives” and predecessors in other adjoining cultures of the late Stone Age, spread in the vicinity of the Cucuteni-Trypillian culture in Central and Southeast Europe. Such other cultures included Turdash – Vinča (5700-4200 BC), Lendel (4900-3400 BC), the Linear Band Ware culture (5500-4000 BC), Boian – Karanovo V (circa 4000 BC), and so on.

A figurine of Turdash – Vinča culture

 

Figurines of Vinča culture

 

Lendel culture

 

Boian culture

 

Trypillian figurines (PlaTar collection)

 

Trypillian figurines (PlaTar collection)

 

In all these items we can easily trace similar, kindred motifs applied when the figurines were made.

As of today, the total number of figurines discovered all over the area of the culture distribution is around 12 thousand, including about 3 thousand figurines found in Ukraine. There are over 100 settlements in the territory of Ukraine, where such artefacts have been found.

B) Classification

As it has been mentioned in Part 1, the Cucuteni-Trypillian culture existed for over 2.5 thousand years. Just like any phenomenon, over such a period of time it gradually transformed, passing through the following stages: emergence – formation – development – advanced period – decline – extinction. This got further reflected in various local versions of the culture (there are about 60 of such versions today, as we’ve said above). Therefore, such cultural phenomenon as TAPA was constantly developing and transforming, too, and also had its regional differences.

Historians and archaeologists study all the trends, analyse and classify figurines. For example, famous archaeologist Mikhail Videyko notes the following:

Figurines are very different by their overall appearance, poses, gestures, and decorative elements. There are more than fifteen various images embodied in Trypillian terracotta items, including the Bird Goddess, the Snake Goddess, the Cow Goddess, Oranta, Madonna, paired female deities, Androgyne, and Warrior.

A chart from the Encyclopaedia of the Trypillian Civilization demonstrates how major types of figurines were developing by periods: 

A figurine from Usatovo

Figurines vary in sexual characteristics – female, male (though there are much less male ones than female ones), androgyne (combining features of both sexes), and children’s (e.g. stylised figurines of a child in mother’s arms).

Apropos of this, researcher Natalia Burdo mentions the following:

In ancient mythology androgyne is a dualistic character with female and male features. It symbolises the principle of balance between the two opposite principles (masculine – feminine, active – passive), reflected in anthropomorphic codes. Androgyny is determined by both the idea of unity that preceded diversity of the world, and the idea of the primordial chaos and non-division of the universe between heaven (the male principle) and earth (the feminine principle).

Figurines also differ in poses – standing or sitting. Near the sitting figurines, mostly at the earlier stages of the culture, stylised little chairs were often found. Researchers call some of them “horned”, since their backs are shaped as horns with their edges pointing upwards.

Another difference is in design technique. There are figurines with drawn ornaments, painted ornaments, or with punctures, and there are those with almost no ornaments but only sexual features marked. 

In her monograph Realistic Plastic Art of the Cucuteni-Trypillia Cultural Complex, archaeologist, Candidate of Historical Sciences Natalia Burdo states:

The most widespread finds among realistic sculptures are female images with faces looking upwards.

Then she draws the following conclusion:

… most figurines with closed eyes depicted a standing female figure with her body slightly leaning back and her face looking upwards, reproducing the Oranta (Orans) pose. Closed eyes and the pose of such figurines may indicate depiction of sacral characters in the state of meditation.   

Such conclusion once again evidences that ancient peoples possessed knowledge and practices, which favoured individual spiritual evolution. At that, the more such knowledge was available in a given society the more harmoniously the society was developing. Later on we will go back to this point.

There are also the so-called zoo-anthropomorphic types, i.e. figurines that combine animal and human features, e.g. bird-woman, bird-snake, and so on. Such images are widely present in Trypillian art in various forms, and are indeed unique and original.

I shall omit all the external signs which a person begins to see and understand owing to amplification of his or her intuitive perception, and shall tell only about the principal inner sign that appears when such person steps on that bridge or path, i.e. when he or she enters the final battle with his or her animal nature for the soul supremacy in a given body. This sign appears in a form of head of an ancient reptile, serpent or dragon. But most often people start seeing as if an open-hood cobra is gazing at them. Its gaze is not aggressive, but serene. It looks eye to eye, most likely even at one’s nasal bridge. At that, a person sees its image in front of oneself both with closed and open eyes. (A. Novykh. Birds and a Stone)

We will discuss the snake image in more detail in Part 3 of this article.

Let me finish this subsection with another quote by N. Burdo:

There is no doubt that Trypillians achieved top craftsmanship in embodiment of sacral images in realistic sculptures in the late Eneolithic, when the majority of kindred farming cultures had already disappeared from the historical scene of Ancient Europe.

C) TAPA purpose

As it has been partially mentioned in the previous subsection, figurines had a worship purpose and bore a certain sacral meaning.

Let me draw your attention to the word sacral. It originates from the Latin word sacrum which means “sacred”, “dedicated to God”.

In other words, the aitchbone is a spine base, whereas the spine is the base of the entire body. Hence, it may safely be said that the word sacral means “basic”, “fundamental”, while the knowledge of the human spiritual nature and the universe are sacral and basic for any harmonious and constructive society. Let’s note these points!

Now it is time to consider where and in which conditions all the aforesaid artefacts were discovered. What does archaeology say on the matter? Researchers assert most figurines were found near ruins of temple buildings. They were piled in household pits located almost near every building. Such pits represent places where constructors took clay to build houses; later on, in the process of settlement functioning they got filled with household refuse. Archaeological records indicate the remains of figurines got accumulated in the pits throughout the period of temple functioning.

Famous archaeologist and Trypillian culture researcher Mikhail Videyko states that figurines, just like everything else used for sacrifices, were not thrown away, but protectively hidden in the ground. He also mentions that:

Judging by cleavages, most figurines were broken in remote antiquity. The ordinary world was not a proper place for the items that got in touch with great powers and bore a particle of magic, so Trypilians buried everything they used during rites and rituals. Hence, traces of sacrifices are usually found in pits.

It is hard to say definitely for which period of time a figurine was used, or whether it was a one-time use in a certain rite, sacrificial offering or series of rites.

Researchers have difficulties with saying what the specific purpose of figurines was, for there are no written sources of information. There can be diverse interpretations only, based on the experience of a given researcher. They mostly limit themselves to saying that the figurines were used in various archaic agrarian cultures, rites and rituals associated with fertility.

D) Sets of figurines and sacral numbers

Not many people are aware that Trypillians used figurines not just separately, but in whole sets. The number of figurines in sets was different. According to archaeologists, such sets are usually found in vessels used for “magic practices” or beside such vessels. In one settlement several such sets could be found. Here are images of some artefacts of this kind.

Sets from Galaest (3 and 7 figurines)

As we can see, when such sets are found the vessels are often far from being intact. Moreover, frequently only fragments of figurines are discovered, which complicates identification of a specific number of figurines in a given set. Nonetheless, there is a find that makes it possible to determine such number precisely!

This unique set is from the village of Isaia – Balta Popii, Romania. It was discovered in 1999 by the Romanian archaeologist D. Monah. The set of figurines was found in an intact vessel with a closed lid, so it is a complete, integral complex! This set, just like the one described above, consists of 21 female figurines and 13 little chairs. The figurines are different in size, shape and ornament, but they may be grouped by certain features. The chairs are also different. Most probably, this set of figurines symbolised a certain gathering. The artefact is dated to the Pre-Cucuteni – III phase (4750-4600 BC).

According to researchers, such sets of female figurines were spread mostly at the early stages of the culture development, more specifically in Pre-Cucuteni (5050-4600 BC) – Trypillia А (4850-4350 BC). Later on, female figurines with little chairs disappeared, and mixed figurines emerged. That took place starting from Trypillia ВI (4350-4050 BC).

At the aforesaid stage population of the Trypillian land considerably increased, causing swift growth of the number and the area of settlements, as well as substantial complication of the social structure. Densely populated regions appeared, and the whole complex of material culture transformed. Due to such factors, as researchers mention, local connections and close relationships became topical and important for Trypillian communities, which echoed in TAPA of that period. At that, despite the drastic changes in the society, religious beliefs remained rather stable.

This set of figurines from Dumești, Romania differs from the previous sets by its composition, shape and decoration of the figurines. It represents a gathering of 12 figures (6 male ones and 6 female ones). The male figures may be distinguished by the sexual organ, separated legs, and the belt put across the shoulder, and they are quite uniform. The female figures are executed in a refined way and decorated with diverse geometric ornaments.

As we can see, all participants of the gathering are in the Oranta (Orans) pose, i.e. their arms are raised upwards. We may assume they gathered for a sacral action, e.g. a prayer or a joint spiritual practice.

Finishing this subsection, I can only mention the aforesaid sets of figurines have been found mostly in the Balkan and Carpathian regions and mainly date back to the early stages of the culture. As of today, about 12 such sets are known.

E) Conclusions on Part 2:

• The tradition of making figurines of clay was not unique for Trypillians. Terracotta items were made by representatives of many European cultures kindred or preceding to Cucuteni-Trypillia, and even by the earlier Anatolian cultures.
• As of today, the total number of figurines found all over the culture area is over 12 thousand.
• Such cultural phenomenon as TAPA was continually developing and transforming, and had regional differences.
• According to the general classification, there are many kinds and iconographic types of the figurines. Hence, we may assume the figurines had different practical purposes.
• Since most of the figurines or their fragments have been discovered in pits near temples or in ruins of burnt temples, we may conclude the figurines had a worship purpose and a certain sacral meaning.
• There are sets of a different number of figurines: 3, 7, 12, as well as 21 figurines with 13 little chairs. Incomplete sets of figurines are also known. Such sets date back to the early stages of the culture development, but not to the middle and late stages.

Part 3. The sacral Trypillian culture

As we can see, TAPA typology is quite broad and diverse. At that, we have gradually approached the next part of our review, where we will talk about one more type of figurines – ones with sacral symbols on them. What can signs (ornaments) on such figurines specifically mean?

Nothing is written about this in mainstream science sources, since such aspects cannot be touched or measured, and they are far from philosophical reflections, though being rather concrete and practical. This knowledge represents the most valuable information that our ancestors wanted to communicate to descendants, having coded it in a symbolic way on clay figurines. The knowledge is extremely important for each of us because it is timely nowadays. It may be used as a tool for self-improvement, by means of which everyone has an opportunity to feel the spiritual world and learn the sense of one’s arrival to this world. Every human personality gets a chance to transform oneself spiritually. Moreover, this knowledge enables a person to preserve a harmonious, though very subtle, balance in our highly complex contemporary society. As of today, a key to this lost Knowledge is contained in the AllatRa book by A. Novykh, which is freely accessible on the web.

It should be noted that one can look into these aspects only from the perspective of gaining one’s personal experience in learning of the spiritual world and in daily inner self-improvement work. However, this method of learning is beyond the logic of the material world, and is based solely upon intuitive perception of reality through feelings, which perception should be developed in oneself. Nonetheless, logic as a tool of learning is not refuted at all.

Perhaps, there is no sense in writing a lot about this – it is better to gain one’s personal experience. After all, one who practices does Know!

Now let us look at specific specimens together.

А) The human energy structure and marking of the Soul

The AllatRa book mentions that the knowledge of the Soul and the human spiritual nature existed in the human society from time immemorial. This statement is supported by numerous artefacts of various world cultures, including the artefacts of Cucuteni-Trypillia.

		The book further mentions that the Soul is located not in the physical body, but in the human energy structure. In particular, around the Soul there is a highly complex structure shaped as a four-sided pyramid with a detached top, which structure is simultaneously situated in six (6) dimensions. The pyramid sides represent the so-called four main Aspects of a human being. In the detached top of the pyramid, there is the spiritually-natured Personality. The latter is separated from the Soul by the field-structured consciousness, but preserves a link with the Soul! In ancient times the linking “channel” was called the silver thread. If projected on the physical body, the Soul is located in the solar plexus area.
A diagonal cross symbol from the AllatRa book, with the marked Centre and Sides (seal-type interpretation of the symbol).	A diagonal cross in a rhombus. The rhombus is a projection of the pyramid base split into four zones. Dots mark the Aspects.	In ancient times, when there was no written language, the knowledge of the human energy structure and the Aspects was schematically recorded by means of signs and symbols.. Below we will consider how this knowledge was reflected in artefacts of the Cucuteni-Trypillian culture.

An equilateral diagonal cross with a circle in the middle is a symbol of the Knowledge about the four human Aspects and the Soul. A diagonal cross symbolises movement in learning, conventional division of space into fields (zones) of the Aspects’ influence, whereas a circle signifies the Soul. (A. Novykh. AllatRa)

Now let us see how the knowledge of the Soul was reflected on TAPA figurines.

Looking at the above items, we can see a clear mark on the solar plexus area where the Soul is located within the energy “body”!

Thus, taking into account such artefacts, we may conclude that Trypillians possessed the knowledge about the Soul since the earliest period of their culture existence. Moreover, should we trace this aspect deeper, we would see similar marks on the figurines of Vinča culture which preceded and was kindred to Cucuteni-Trypillia.

Now let’s look at figurines with the Soul marked on them, which have been discovered in the territory of Romania.

Frumusica, Romania

 

Poduri-Dealul Ghindaru, Romania

 

 

 

The artefacts shown in the last two images were found at Drăguşeni-Jura site in Romania. The images are taken from the book Aspectul regional cucutenian Drăguşeni-Jura by V. Sorochin.

B) Solar plexus. Chakras. Lotus. Shambala

The following artefacts indicate how the knowledge of the chakras was reflected in TAPA:

On many figurines there are punctures, hollows or oblong cuts on the head crown. It is interesting that such marks are found on anthropomorphic artefacts, e.g. of the kindred cultures of Karanovo and Vinča. Researchers have no idea what such hollows symbolise. However, if we compare such marks with the layout of chakras on the human body, the picture becomes clearer: at the head crown there is the “thousand-petal” chakra or chakran, which gets activated in many meditative practices. 

The processes taking place in the energy body during meditations and spiritual practices were sometimes schematically depicted on figurines as spiral vortices. Such symbols are found on artefacts of many ancient cultures and were often drawn on figurines near the area of the Soul location or slightly lower – in the abdominal area where the Hara chakra (chakran) is situated.

Speaking of the movement of energies, it is appropriate to mention the serpent image that has been already described in Part 2 of this article. This image was widespread in the Trypillian culture and played a particular role in the sacral field. For this reason serpent / snake images are frequently found on pottery and figurines. At that, let me present several quotes so that readers could compare relevant information on their own.

Based on the aforesaid information it becomes clear why the animal mind system so actively speculates about the sexual theme. After all, its task is to make people fritter away their priceless inner potential. Here’s another quote that explains everything:

At that, imagine what this power means for the invisible world where subtle effects and transformations take place and from where everything actually arises. In the spiritual aspect, sexual energy is a force, a conductor to deep inner feelings, so to say, to the world of the Supreme sacrament. (A. Novykh. AllatRa)

Yet, let’s go back to the Soul. According to Sensei of Shambala series by A. Novykh, from time immemorial there existed the knowledge of tools that helped a spiritual personality to get in touch or merge with the Soul – the substance originating from the spiritual world. Having merged with the Soul, a personality gets transformed, and his / her energy structure substantially changes. The person gains sanctity. It is interesting that the Russian word sviatoy (saint) originates from the Old Slavonic word svętъ meaning “light”. Furthermore, on Christian icons we can see that an “inherent attribute” of any saint person is an aura glow around his or her head, or a nimbus in the canon language. It is totally possible that these very processes are depicted on the ancient artefacts we consider herein. After all, we already know all the figurines had a sacral meaning, although researchers mostly believe the “round shapes” over the figures’ heads are peculiar headdresses…

One of simple yet accessible self-development tools is the Lotus Flower spiritual practice, which is as ancient as humanity in this world.

The Lotus Flower spiritual practice was applied from time immemorial. Since olden times the Lotus was said to give birth to Gods. It’s been said God awakens in the Lotus, meaning that a divine substance – the soul – awakens in the Lotus Flower, in Harmony and Love inside. (From Sensei of Shambala by A. Novykh)

While performing this practice and focusing attention on the area where the Soul is located, a person immerses into a blissful feeling of love for everything in existence, experiences peace, harmony, silent joy, and inner balance. Perhaps, this very state is embodied in many figurines shown in Part 2 of this article, isn’t it? ...

The technique of this practice performance is described in detail in the books by A. Novykh. 

The knowledge of the human spiritual nature is preserved in Shambala and brought by Bodhisattvas who “come” to the world in human bodies. Such Knowledge is usually renewed on earth at the junction of ages, more specifically in the Crossroad times. During such periods in history people stand on the threshold of another breakthrough in development, and new opportunities open for them. They are provided with spiritual assistance and granted a chance to build a civilization where spiritual values would prevail. Nonetheless, humanity reserves the right to choose whether to use this chance or not.

Let’s take, for instance, the Bodhisattva who was known under the name of Osiris a long time ago. His activity was connected not only with Ancient Egypt, but with the places known today as Altai, with the VolgaRiver Basin and the Dnieper and Danube region. He and his people did a great work which gave an impulse to cultures that flourished in the aforesaid seats of civilization. Even today a curious person can find some indirect proves, say, in Tripolye culture which appeared seven thousand years ago in the Dnieper and Danube region… (A. Novykh. Sensei of Shambala – Book IV)

In Egyptian iconography Osiris was often portrayed with a young three-petal lotus – the symbol of spiritual purity and true Knowledge. The lotus was growing from a seed from under Osiris’s feet. Lotus seeds preserve germinating capacity for up to a thousand years. For this reason the flower symbolises immortality, while its location indicates who has brought the knowledge of the Soul immortality to people. Four figures were drawn on the lotus flower, embodying the four Aspects in a human being.

It is impossible to determine accurately when Osiris lived. We may only assume it was in the pre-dynastic period of the history of Egypt. Today historians, relying on archaeological data, say such period was between the 5^th and the 4^th millennia BC, which timeline corresponds to the beginning of Cucuteni-Trypillian culture flourishing as TAPA items evidence.

Finishing this subsection, I view it appropriate to say a few words about the aforesaid four Aspects, since this information closely relates to the subject of the next subsection. Let me cite a relevant quote from the AllatRa book:

That is right, as I have already said, a lotus in this form was usually depicted as a symbol of the spiritual outcome of a Personality’s life path after the death of his or her body. A lotus with petals is a symbol of active life, and when petals fall off, the essence remains – spiritual seeds that a person has gained inside over his or her lifetime. The image on the papyrus symbolically shows the four main Aspects, like Witnesses, standing on the “essence”. Simply put, they represent information about each day a person has lived, so to speak, second by second. The notation above them, as a rule, displays symbolical marks of the count of “thoughts and deeds” (sins) of a person, as recorded by each Aspect. This is a sort of conventional indicator of the quantitative equivalent of the active domination of each Aspect over the life lived by the Personality. It is impossible to hide anything, all secrets are revealed. The four Aspects become like “silent Witnesses” that never lie. All the person’s deeds, thoughts, emotions, experiences, all temptations with what the person was seduced and what he or she chose throughout life – everything is there before the Judge (Osiris).

C) Diagonal crosses. The “sown field”. Chetverik

Let’s proceed to the next subsection.

So, in the late 6^th – early 5^th millennium BC the tribes that inhabited Southeast and Central Europe gradually entered a new stage in their development, which lasted for about 2 thousand years. That period may safely be called the age of innovations in material culture, because: 1) transition from appropriation economy (hunting, gathering and fishing) to production (farming and cattle-breeding) took place, which contemporary scientists call the Neolithic Revolution; 2) people learned to process metals (first copper and then bronze); 3) new, more up-to-date work tools appeared; 4) new methods of ceramics production emerged – a potter's wheel and a kiln were invented; 5) wheeled vehicles were invented; 6) division of labour began, and consequently 7) architecture became more advanced, and 8) proto-cities (large settlements with the population of 10 to 15 thousand people) emerged. The last factor was due to the overall growth of the number of people who were forced to settle in new territories, with a corresponding complication of the social structure of communities.

It should be mentioned that outbursts of civilization development during that period took place not just in Europe, but in other parts of the world as well, e.g. the Egyptian, Harappan (IndusValley) and Sumerian cultures / civilizations.

However, let us recur to Cucuteni-Trypillia and see how the epoch-making changes got reflected on Trypillian artefacts, including TAPA items, in particular as to sacral symbolism.

We already know that a certain work had been done by that time as to renewal of spiritual knowledge in the region. Hence, people were given tools for inner self-improvement, including such spiritual practices as the Lotus Flower, Chetverik and Pyramid. Changes in the spiritual and material planes influenced both figurine shapes and ornaments; in particular, geometric ornaments began to prevail. Furthermore, the following sign (see Figure 1 below) started appearing on figurines.

Archaeologists’ reasoning is quite grounded, but the issue needs to be clarified. The thing is that many signs and symbols had both everyday material and sacral meanings, depending on how and where they were used. For instance, let’s take such an ancient widespread symbol as three wavy lines. Looking at the symbol, everyone will surely say it symbolises water, and this would be reasonable. Yet, in the sacral sense the symbol has another meaning, namely as a person’s immersion deep inside oneself, entry into the spiritual world or, speaking in scientific language, into an altered state of consciousness. Such interpretation of the symbol is understandable for people who have personal experiences in spiritual practices, while for those who don’t practice this will remain a symbol of water. Therefore, in the context of archaeological excavations, if such symbol has been found, say, as an element of temple wall paintings or was drawn on worship items, it will bear a sacral meaning rather than an everyday material one. 

The same thing is with the “sown field” sign, which in Old Slavic sacral traditions was called Chetverik (“of four elements”) by the name of the spiritual practice that it symbolised. What could evidence this? Let us see more artefacts with the sign.

These are photos of artefacts where this sign is clearly visible. As we can see, the sign has different kinds of marks in its four “fields”. In such a way in all times knowledgeable people marked the activeness, controllability or prevalence of one or another Aspect in a human being. The Chetverik sign location on the belly of figurines also had a sacral meaning, since in this very place the Hara chakran is situated, playing an important role in the Chetverik practice. Figurines are further decorated with other sacral symbols – spirals which we have mentioned above, as well as horizontal lines that may indicate a dimension with which a person who made the figurine or the one whom the figurine symbolises worked.

Let me present more photos.

Here I view it relevant to tell more about the sacral symbolism of an equilateral diagonal cross. As it has been written above, such symbol is indicative of the knowledge about the four Aspects (sides) of a human being and the Soul (centre).

A scheme of a cruciform altar excavated in 2012 by an international archaeological expedition near the village of Nebelevka in Kirovograd Region, Ukraine

As a given culture is decaying due to various climatic and social shocks, the inner spiritual essence of knowledge is getting lost. Only external shapes such as signs and symbols continue existing for a long time as ornamental elements that became traditional. People copy signs and symbols from generation to generation because their ancestors did so. In his article Cosmogony and Mythology of Eneolithic Farmers, Academician Boris Rybakov points at the following aspects of millennia-long stability of ornamental patterns:

D) Pyramidal shapes and other symbols

Well, I will leave this information for readers to judge and will comment nothing else in this subsection. Instead, let me cite several extracts from the AllatRa book by A. Novykh and add some relevant artefacts to that.

… from the perspective of a higher dimension Observer, the human structure does not look the same as it looks in the three-dimensional world (with arms, legs, a head, and a trunk). It looks as a complex shape which more than anything resembles a four-sided truncated pyramid with its top detached. This is, of course, if we pick the closest association understandable for the thinking of a resident of the three-dimensional world. Owing to the Pyramid meditation, a person can feel one’s energy structure relating to the four Aspects, expand one’s perception and, most importantly, feel one’s Soul.

… most often the symbol of a diagonal cross (or its variations) in sacred texts pointed at the Knowledge about the energy structure of man, about his Aspects and interconnection with dimensions. Dimensions were represented for convenience as a number of steps in a truncated pyramid or a staircase, elements of patterns (lotus buds or petals, contours of mountains, zigzag lines), circles inside a circle, little lines, grains, or dots. As a rule, their number was 3, 4, 5, 6, or 7.

Tacula-Dealul Micfea, Romania

In the above image we can see that on some figurines there are pyramidal marks combined with the Chetverik sign, and there are other symbols and marks as well.

At that, the presence of seven identical elements in a pattern signified the 7^th dimension that indicated a perfect person and the structure of the world up to the 7^th dimension, or the concept of “heaven”, “Nirvana”, and “liberation of the Soul”. Sometimes 8, 9, 12, 13, as well as 33 or 72 conventional marks were depicted near the symbol of the seventh dimension, pointing at the knowledge about the Universe. Such sacral information was often recorded in patterns of ritual items, garments or sacred buildings.

Author’s afterword

While working on this article your most humble servant endeavoured to get at the heart of the matter, thus seeking to approach analysis of relevant facts impartially. Hence, I have studied a certain scope of specialised literature and compared the information given there with the knowledge about the human spiritual nature as provided in the books by A. Novykh. In the process of my work it has become obvious to me that the topic is extremely profound and extensive. Therefore, there is every reason to say that this article is only a tip of the iceberg which has partly shown itself on the surface and expects to have more followers and enthusiasts.

Several millennia have already passed since the time when ruins of the last Trypillian settlements got covered with steppe grass, but thanks to archaeology today we can carefully touch the past at least a little in order to retrieve the most valuable in all times – knowledge and experience! Having no written language, Trypillians schematically recorded their knowledge and experience on clay items, applying diverse symbols and signs.

Numerous artefacts of the Cucuteni-Trypillia culture expressively demonstrate that, if the spiritual aspect prevails in society, material wellbeing will come, too. After all, when God is in the first place, everything else is where it should be! This is persistently asserted by the entire history of the Trypillian civilization whose representatives were able to create with their own hands that what scientists now call the Golden Age of Eneolithic.

It should be added that the most important in those times was not innovations and technology in pottery making or metallurgy, etc., but the knowledge of the spiritual nature that took humanity to a new level of evolution. By means of inner self-development tools a human being was able to overcome one’s animal nature and thus give a chance to one’s spiritual nature to evolve and to reach God as a totally different, spiritual being. What could be more significant and honourable?! …

Finally, for the readers who are interested in this subject and would like to look into it deeper, below I give a list of sources I used for this article.

Literature:

1. Burdo, N.B. Realistic Plastic Art of Cucuteni-Trypillia: Systematization, Typology, and Interpretation. Lambert Academic Publishing, 2013

2. Videyko, M.Yu. The Trypillian Civilization. Kiev, 2008
3. Gimbutas, М. The Civilization of the Goddess: The World of Old Europe. Harper San Francisco, 1991
4. Ancient Ceramics of Ukraine, Part 1. Кiev, 2002
5. The History of Decorative Arts, Volume 1. Kiev, 2010
6. Encyclopaedia of the Trypillian Civilization, Volumes 1 and 2. Kiev, 2004
7. Novykh, Аnastasia. AllatRa. Kiev, 2013
8. Novykh, Аnastasia. Sensei of Shambala – Book IV. Kiev, 2009
9. Novykh, Аnastasia. Birds and a Stone. Kiev, 2009
10. Pogozheva, A.P. Tripolye Anthropomorphic Plastic Art. Novosibirsk, 1983
11. The Eneolithic of the USSR. Moscow, 1982
12. Burdo, N.B. Anthropomorphic Plastic Art Items from the Trypillian Settlement of Maidanetske // Archaeology, Issue No.2, 2011
13. Burdo, N.B. Realistic Plastic Art of the Cucuteni-Trypillian Cultural Complex // Stratum plus, Issue No.2, 2010
14. Movsha, T.G. Anthropomorphic Plastic Art of the Tripolye Culture // Soviet Archaeology, Issue No.2,1969
15. Palaguta, I.V. Sets of Figurines of Pre-Cucuteni – Early Tripolye: Experience of the Sociocultural Interpretation of the Early Agricultural Plastic Art // The Russian Archaeological Annual Journal, Issue No.3, 2013  
16. Rybakov, B.A. Cosmogony and Mythology of Eneolithic Farmers // Soviet Archaeology, Issue No.1, 1965
17. Studies of a Mega Structure by the Trypillian Settlement in Nebelevka in 2012 // Tyragetia, Issue No.1. Chisinau, 2013
18. Tsvek, Ye.V. On the Issue of Trypillian Ornament Studies
19. Sorochin, V. Aspectul regional cucutenian Drăguşeni-Jura. Piatra Neamţ, 2002

Prepared by Sviatoslav Sergeyev (Kiev, Ukraine)