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VITA ANTIQUA                                                                          ISSN 2522-9419 (Online), 2519-4542 (Print)
Center for Paleoethnological Research
VITA ANTIQUA 16, 2025, Tangible Heritage of Ancient Times : approaches, contexts, interpretations

Sofia Syvuk¹
Roman Metal Tableware in the Chernyakhiv Culture of Ukraine : a historiographical overview
¹Institute of Archaeology of the National Academy of Sciences of Ukraine; Taras Shevchenko National University of Kyiv
¹ORCID: 0009-0001-2945-3623

DOI: 

ABSTRACT

The article presents an attempt at a comprehensive analysis of the history of studying Roman metal vessels from sites of the Chernyakhiv culture within the territory of Ukraine. Particular attention is devoted to the clarification of the terminological framework, the definition and characterization of the main stages in the accumulation of the source base, as well as to the identification of the specific features of its formation and the dynamics of artifact discovery.

Special attention is given to the analysis of chronological aspects, the examination of the historical context, and the discussion of the functional purpose of Roman metal vessels in the barbarian milieu. In particular, the so-called “princely burials” are analyzed as examples illustrating the formation of the “drinking set” characteristic of the Chernyakhiv culture, which reflects processes of adaptation and reinterpretation of Roman traditions within the material culture of the barbarian societies of the Northern Black Sea region.

The paper also presents an up-to-date list of known examples of Roman metal vessels associated with the Chernyakhiv culture, mentioned in the works of both Ukrainian and foreign researchers. The conclusion analyzes the current state of research, identifies the main trends in the development of scholarly approaches, and outlines the prospects for further studies on this topic.

Keywords: Roman import, metal utensils, late Roman period, Chernyakhiv culture, historiography.

Lenguage: Ukrainian

ПДФ

Cite us:

Syvuk, S.O. 2025. Roman Metal Tableware in the Chernyakhiv Culture of Ukraine : a historiographical overview. VITA ANTIQUA, 16. Tangible Heritage of Ancient Times : approaches, contexts, interpretations.

References:

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VITA ANTIQUA                                                                          ISSN 2522-9419 (Online), 2519-4542 (Print)
Center for Paleoethnological Research
VITA ANTIQUA 16, 2025, Tangible Heritage of Ancient Times : approaches, contexts, interpretations

Iryna Chechulina¹
The Interaction of Metal and Ceramic Ware in Ancient Greek Culture: Technology, Style and Market Aspects
¹Institute of Archaeology of the National Academy of Sciences of Ukraine; Taras Shevchenko National University of Kyiv
¹ORCID: 0000-0003-3783-6277

DOI: 

ABSTRACT

The interaction between ancient Greek metal vessels and Greek ceramic ware is an important aspect of the study of ancient arts and crafts. The metal vases made of bronze, silver and gold produced by ancient Greek craftsmen were not only distinguished by their high craftsmanship, but also had a significant impact on the development of ceramic tableware. The phenomenon of potters imitating Torevtic wares is known not only in Greece, but also in a broader intercultural context, particularly in the Islamic world and China.

Metal vases often served as models for ceramic wares. Potters sought to reproduce the shapes, proportions, and decorative elements of metal vessels in their clay analogues. This was manifested in the use of similar contours and structural elements, for example, in the design of handles, bases and necks of the vessels.

The stylistic elements of metal vases, such as ornaments and motifs, are reflected in the paintings of ceramic ware. The delicate geometric patterns and floral motifs that adorned metal wares were adapted to the technique of ceramic painting. The potters tried to convey the aesthetic value and complexity of metal products through their wares, thus developing new styles and techniques of painting.

The development of technologies and methods for the production of metal vases stimulated technical progress in the manufacture of ceramic ware. The adoption of surface treatment techniques, such as polishing, imitation engraving or the use of fluting, allowed potters to create ware that imitated the shine of metal products.

The socio-economic factor played an important role in this process. Metal vessels were a luxury item available only to the elite, while ceramic analogues allowed a wider audience to join the visual culture of elite objects. Thanks to active trade, Greek ceramics imitating metal spread far beyond Greece, reaching the Northern Black Sea region, Italy, and the Middle East.

Although the main influence was from metal to ceramics, there are cases of the reverse process. Popular ceramic shapes were sometimes reproduced in metal, indicating the interdependence of different craft traditions.

Thus, the interplay between metal vases and ceramic tableware in Ancient Greece is an example of the integration of different craft traditions, which contributed to the development of material culture and art. This process reflects the diversity of the ancient Greek society, where different crafts and artistic trends interacted and mutually enriched, creating unique works that still impress with their perfection and artistic value.

Keywords: ancient Greek metal vessels, ceramic tableware, Greek ceramics, ancient craft, material culture, production technologies.

Lenguage: Ukrainian

ПДФ

Cite us:

Chechulina, I.O. 2025. ancient Greek metal vessels, ceramic tableware, Greek ceramics, ancient craft, material culture, production technologies. VITA ANTIQUA, 16. Tangible Heritage of Ancient Times : approaches, contexts, interpretations.

References:

Andrewes, A., 1991. Greek society. London: Penguin Books.

Boardman, J., 1979. The Athenian pottery trade. The Classical period. Expedition 21, 4, 33-39.

Boardman, J., 1988. Trade in greek decoration pottery. Oxford Journal of Archaeology 7.1, 27-33.

Chechulina, I., 2024. From Athens to Olbia Pontica: the Artistry of Black-Glazed ware. Kyiv: IA NANU.

Coşkun, G., 2011. Achaemenid bowls from Seyitömer Höyük. Olba, 19, 57-79.

Davis, D.L., 2009. Commercial Navigation in the Greek and Roman world. Ph.D. thesis. Faculty of the Graduate School of The University of Texas at Austin.

Furtwängler, A., 1885. Beschreibung der Vasensammlung im Antiquarium. Berlin: Antikensamlung.

Gill, D., 1991. Pots and trade: spacefillers or objects d'art? The Journal of Hellenistic studies, 111, 29-47.

Gill, D., Vickers, M., 1990. Reflected Glory: pottery and precious metal in classical Greece. Jahrbuch des deutschen Archäologisches Instituts, 105, 1-30.

Hayes, J., 1984. Greek and Italian Black-Gloss Wares and Related Wares in the Royal Ontario Museum. Toronto: Royal Ontario Museum.

Kaba, H., 2022. Comparing the Metal Vessel Acquisition Patterns and Trends of the Thracian and Cypriot Elite during the Classical Period. In: Delev, P. (ed.). Ancient Thrace: Myth and Reality. Proceedings of the Thirteenth International Congress of Thracology, 1, 191-206.

Kotitsa, Z., 2012. Metal-coated pottery in Macedonia in Late Classical and Hellenistic period. In: Drougou, S, Touratsoglou, I. (Hrsg.), Topics on Hellenistic pottery in ancient Macedonia, 108-125.

Krauskopf, I., 1984. Terrakotta-imitationen der bronzekannen der form Beazley VI in Athen, Westgriechenland und Etrurien. In: Brijder, H.A. (ed.). Ancient Greek and Related Pottery. Proceedings of the International Vase Symposium. Amsterdam: Allard Pierson Museum, p. 83-87.

MacDonald, B.R., 1981. The Emigration of Potters from Athens in the Late Fifth Century B. C. and Its Effect on the Attic Pottery Industry. American Journal of Archaeology, 85. 2, 159-168.

Moller, A., 2008. Classical Greece: Distribution. In: Scheidel, W. (ed.). The Cambridge economic history of the Greco-Roman world. Cambridge: Cambridge University Press.

Morel, J.-P., 1994. Céramique campanienne: Les formes. Rome: Ecole France.

Mozolevskyi, B.M., 1979. Tovsta Mohyla. Kyiv: Naukova dumka. (in Ukrainian).

Polyn, S.V., 1992. Ot Skyfyy k Sarmatyy. Kyiv: NANU. (in Russian).

Shefton, B., 1998. Metal and Clay: Prototype and Re-creation. Zoffany's "Tribuna" and Lessons from the Malacena Fabric of Hellenistic Volterra (Calyx-krater, Stamnos, Situla and the Achaemenid Rhython). Revue des Etudes Anciennes, 100-3-4, 619-662.

Sideris, A., 2015. Theseus in Thrace: The Silver Lining on the Clouds of the Athenian-Thracian Relations in the 5th Century BC. Sofia: Thrace Foundation.

Sideris, A., 2024. The Vratsa Situla and the Spread of the Palmette Motif. The Apogee of the Triballian Dynasty: The Triballoi and their Neighbours in the Classical and Early Hellenistic Times. Studia Archaeologica Universitatis Serdicensis, Supplementum VII, 49-69.

Skory, S., Khokhorovsky, Y. 2018. Bolshoi Ryzhanovsky Mound. Kyiv: Oleg Filyuk Publisher (in Russian).

Sparkes, B., 1977. Quintain and the Talcott class. Antike Kunst 20.1, 8-25.

Tereshchenko, O.I. 2013a. Antychne torhivelne sudno «Zmiinyi-Patrokl» (sklad produktsii). Archeologia, 3, 69-85.

Tereshchenko, O.I. 2013b. Pidvodno-arkheolohichne doslidzhennia antychnoho torhivelnoho sudna poblyzu o. Zmiinyi u Chornomu mori (polovyi sezon 2011 r.). Archeologia, 2, 64-77.

Themelis, P., Touratsoglou, G., 1997. Οι Ταφοι του Δερβενιου (Oi Tafoi toy Derbenioy). Athens.

Vickers, M., 1985. Artful crafts: the influence of metalwork on Athenian painted pottery. The Journal of Hellenic Studies, 105, 108-128.

Vickers, M., 2002. Potty prices. Ad Familiares 23, 9-10.

Vickers, M., 2010. Silver, horses and pots. In: Metzler, D. (ed.). Massadifiori. Essays presented to Herbert Hoffmann on his 80th birthday, 351-67.

Zimmermann, N. 1998. Beziehungen zwischen Ton- und Metallgefäßen spätklassischer und frühhellenistischer Zeit. Internationale Archäologie, 20. Leidorf: Rahden/Westf.

VITA ANTIQUA                                                                          ISSN 2522-9419 (Online), 2519-4542 (Print)
Center for Paleoethnological Research
VITA ANTIQUA 16, 2025, Tangible Heritage of Ancient Times : approaches, contexts, interpretations

Iryna Chechulina¹
The Interaction of Metal and Ceramic Ware in Ancient Greek Culture: Technology, Style and Market Aspects
¹Institute of Archaeology of the National Academy of Sciences of Ukraine; Taras Shevchenko National University of Kyiv
¹ORCID: 0000-0003-3783-6277

DOI: 

ABSTRACT

The interaction between ancient Greek metal vessels and Greek ceramic ware is an important aspect of the study of ancient arts and crafts. The metal vases made of bronze, silver and gold produced by ancient Greek craftsmen were not only distinguished by their high craftsmanship, but also had a significant impact on the development of ceramic tableware. The phenomenon of potters imitating Torevtic wares is known not only in Greece, but also in a broader intercultural context, particularly in the Islamic world and China.

Metal vases often served as models for ceramic wares. Potters sought to reproduce the shapes, proportions, and decorative elements of metal vessels in their clay analogues. This was manifested in the use of similar contours and structural elements, for example, in the design of handles, bases and necks of the vessels.

The stylistic elements of metal vases, such as ornaments and motifs, are reflected in the paintings of ceramic ware. The delicate geometric patterns and floral motifs that adorned metal wares were adapted to the technique of ceramic painting. The potters tried to convey the aesthetic value and complexity of metal products through their wares, thus developing new styles and techniques of painting.

The development of technologies and methods for the production of metal vases stimulated technical progress in the manufacture of ceramic ware. The adoption of surface treatment techniques, such as polishing, imitation engraving or the use of fluting, allowed potters to create ware that imitated the shine of metal products.

The socio-economic factor played an important role in this process. Metal vessels were a luxury item available only to the elite, while ceramic analogues allowed a wider audience to join the visual culture of elite objects. Thanks to active trade, Greek ceramics imitating metal spread far beyond Greece, reaching the Northern Black Sea region, Italy, and the Middle East.

Although the main influence was from metal to ceramics, there are cases of the reverse process. Popular ceramic shapes were sometimes reproduced in metal, indicating the interdependence of different craft traditions.

Thus, the interplay between metal vases and ceramic tableware in Ancient Greece is an example of the integration of different craft traditions, which contributed to the development of material culture and art. This process reflects the diversity of the ancient Greek society, where different crafts and artistic trends interacted and mutually enriched, creating unique works that still impress with their perfection and artistic value.

Keywords: ancient Greek metal vessels, ceramic tableware, Greek ceramics, ancient craft, material culture, production technologies.

Lenguage: Ukrainian

ПДФ

Cite us:

Chechulina, I.O. 2025. ancient Greek metal vessels, ceramic tableware, Greek ceramics, ancient craft, material culture, production technologies. VITA ANTIQUA, 16. Tangible Heritage of Ancient Times : approaches, contexts, interpretations.

References:

Andrewes, A., 1991. Greek society. London: Penguin Books.

Boardman, J., 1979. The Athenian pottery trade. The Classical period. Expedition 21, 4, 33-39.

Boardman, J., 1988. Trade in greek decoration pottery. Oxford Journal of Archaeology 7.1, 27-33.

Chechulina, I., 2024. From Athens to Olbia Pontica: the Artistry of Black-Glazed ware. Kyiv: IA NANU.

Coşkun, G., 2011. Achaemenid bowls from Seyitömer Höyük. Olba, 19, 57-79.

Davis, D.L., 2009. Commercial Navigation in the Greek and Roman world. Ph.D. thesis. Faculty of the Graduate School of The University of Texas at Austin.

Furtwängler, A., 1885. Beschreibung der Vasensammlung im Antiquarium. Berlin: Antikensamlung.

Gill, D., 1991. Pots and trade: spacefillers or objects d'art? The Journal of Hellenistic studies, 111, 29-47.

Gill, D., Vickers, M., 1990. Reflected Glory: pottery and precious metal in classical Greece. Jahrbuch des deutschen Archäologisches Instituts, 105, 1-30.

Hayes, J., 1984. Greek and Italian Black-Gloss Wares and Related Wares in the Royal Ontario Museum. Toronto: Royal Ontario Museum.

Kaba, H., 2022. Comparing the Metal Vessel Acquisition Patterns and Trends of the Thracian and Cypriot Elite during the Classical Period. In: Delev, P. (ed.). Ancient Thrace: Myth and Reality. Proceedings of the Thirteenth International Congress of Thracology, 1, 191-206.

Kotitsa, Z., 2012. Metal-coated pottery in Macedonia in Late Classical and Hellenistic period. In: Drougou, S, Touratsoglou, I. (Hrsg.), Topics on Hellenistic pottery in ancient Macedonia, 108-125.

Krauskopf, I., 1984. Terrakotta-imitationen der bronzekannen der form Beazley VI in Athen, Westgriechenland und Etrurien. In: Brijder, H.A. (ed.). Ancient Greek and Related Pottery. Proceedings of the International Vase Symposium. Amsterdam: Allard Pierson Museum, p. 83-87.

MacDonald, B.R., 1981. The Emigration of Potters from Athens in the Late Fifth Century B. C. and Its Effect on the Attic Pottery Industry. American Journal of Archaeology, 85. 2, 159-168.

Moller, A., 2008. Classical Greece: Distribution. In: Scheidel, W. (ed.). The Cambridge economic history of the Greco-Roman world. Cambridge: Cambridge University Press.

Morel, J.-P., 1994. Céramique campanienne: Les formes. Rome: Ecole France.

Mozolevskyi, B.M., 1979. Tovsta Mohyla. Kyiv: Naukova dumka. (in Ukrainian).

Polyn, S.V., 1992. Ot Skyfyy k Sarmatyy. Kyiv: NANU. (in Russian).

Shefton, B., 1998. Metal and Clay: Prototype and Re-creation. Zoffany's "Tribuna" and Lessons from the Malacena Fabric of Hellenistic Volterra (Calyx-krater, Stamnos, Situla and the Achaemenid Rhython). Revue des Etudes Anciennes, 100-3-4, 619-662.

Sideris, A., 2015. Theseus in Thrace: The Silver Lining on the Clouds of the Athenian-Thracian Relations in the 5th Century BC. Sofia: Thrace Foundation.

Sideris, A., 2024. The Vratsa Situla and the Spread of the Palmette Motif. The Apogee of the Triballian Dynasty: The Triballoi and their Neighbours in the Classical and Early Hellenistic Times. Studia Archaeologica Universitatis Serdicensis, Supplementum VII, 49-69.

Skory, S., Khokhorovsky, Y. 2018. Bolshoi Ryzhanovsky Mound. Kyiv: Oleg Filyuk Publisher (in Russian).

Sparkes, B., 1977. Quintain and the Talcott class. Antike Kunst 20.1, 8-25.

Tereshchenko, O.I. 2013a. Antychne torhivelne sudno «Zmiinyi-Patrokl» (sklad produktsii). Archeologia, 3, 69-85.

Tereshchenko, O.I. 2013b. Pidvodno-arkheolohichne doslidzhennia antychnoho torhivelnoho sudna poblyzu o. Zmiinyi u Chornomu mori (polovyi sezon 2011 r.). Archeologia, 2, 64-77.

Themelis, P., Touratsoglou, G., 1997. Οι Ταφοι του Δερβενιου (Oi Tafoi toy Derbenioy). Athens.

Vickers, M., 1985. Artful crafts: the influence of metalwork on Athenian painted pottery. The Journal of Hellenic Studies, 105, 108-128.

Vickers, M., 2002. Potty prices. Ad Familiares 23, 9-10.

Vickers, M., 2010. Silver, horses and pots. In: Metzler, D. (ed.). Massadifiori. Essays presented to Herbert Hoffmann on his 80th birthday, 351-67.

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VITA ANTIQUA                                                                          ISSN 2522-9419 (Online), 2519-4542 (Print)
Center for Paleoethnological Research
VITA ANTIQUA 16, 2025, Tangible Heritage of Ancient Times : approaches, contexts, interpretations

Diana Dudnyk¹
At the Burin’s Edge : production and reutilisation of burins in the Mizyn assemblage
¹Institute of Archaeology of the National Academy of Sciences of Ukraine
¹ORCID: 0000-0003-0855-3219

DOI: 

ABSTRACT

The article is focused on studying the assemblage of complete burins from the Mizyn site. This study investigates the technological aspects of burin production and offers a typological classification. A considerable presence of artefacts with evidence of reutilisation was found, which points to the intensive use of these tools. This paper is a part of the research project “Epigravettian lithic technologies of tool production, use, and discard: a case study of the Mizyn industry” made possible with the support of the German Archaeological Institute within the framework of the fellowship program “Documenting, Recording and Saving Ukrainian Archaeological Heritage”.

Keywords: Middle Dnipro basin, Epigravettian, Mizyn industry, lithics, burins, attribute analysis, technology, typology.

Lenguage: English

ПДФ

Cite us:

Dudnyk, D.V. 2025. At the Burin’s Edge : production and reutilisation of burins in the Mizyn assemblage. VITA ANTIQUA,16. Tangible Heritage of Ancient Times : approaches, contexts, interpretations

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VITA ANTIQUA                  ISSN 2522-9419 (Online), 2519-4542 (Print)
Center for Paleoethnological research

VITA ANTIQUA 15, 2024, METHODS FOR MONITORING AND RESEARCH OF ARCHAEOLOGICAL HERITAGE OBJECTS

Anastasiia Diachenko¹, Tymur Tyshechko²
Reconstruction of Slavic lifestyle through full-scale modeling
¹ National Museum of the History of Ukraine
² Taras Shevchenko National University of Kyiv
¹ ORCID: https://orcid.org/0009-0003-2449-0286
² ORCID: https://orcid.org/0009-0003-8514-8572

DOI: 10.37098/VA-2024-15-137-154
https://doi.org/10.37098/VA-2024-15-137-154

ABSTRACT

The article is dedicated to one of the most promising directions in archaeological research – experimental archaeology. It outlines the significance of experimentation in modern archaeology in Ukraine and the world, explores the historiography of the problem, and shares the experience of archaeologist colleagues in reconstructing certain aspects of the lives and everyday activities of past generations. Key aspects of experimental archaeology include the creation of replicas or reconstructions to test hypotheses and enhance understanding of ancient objects and technologies. Furthermore, it underlines the practical meaning of experimental archaeology, such as the creation of open-air museums, which provide immersive experiences and contribute to the preservation and dissemination of cultural heritage.

The Northern Permanently Operating Archaeological Expedition of the Institute of Archaeology of the National Academy of Sciences of Ukraine is engaged in the scientific and scientific and protective direction of studying the suburbs of Kyiv. Research mainly concerns the ancient Rus period. The recreation of ancient Rus technologies through their full-scale modeling is not new for the employees of the expedition. Based on this, at the territory of the Khodosivka archaeological complex, models of Early Slavonic ovens were recreated as a source of knowledge about the everyday life of medieval society in Ukraine.

The paper provides a detailed description of the construction of models of two heating devices, prototypes of which are dated mainly from the 12th to the first half of the 13th century. All stages of their creation are characterized: from studying general information about the ovens and planning the future reconstruction, to processing the collected data and implementing the experiment. Based on the modeling of these experiments, the functional capabilities of the reconstructed ovens are revealed. The significance of the conducted experiment lies in its ability to deepen our understanding of the daily life of the Kyivan Rus population. While previous research focused on technologies used in creating various economic and residential structures, this work demonstrates how reconstructed models aid in delving into the study of ancient domesticity. Since the chronicle tradition does not cover all aspects of ancient society’s life, and archaeological evidence alone does not provide a precise picture of the population’s spiritual and everyday life, this experiment allows for a more detailed exploration of these aspects.

Key words: experiment, modeling, skansen, oven, heating device, Ancient Rus, Khodosivka.

Language: Ukrainian

PDF

Cite as:
Diachenko, А.V., Tyshechko, T.L. 2024. Vidtvorennia slovianskoho pobutu shliakhom naturnoho modeliuvannia [Reconstruction of Slavic lifestyle through full-scale modeling]. VITA ANTIQUA, 15. Methods for Monitoring and Research of Archaeological Heritage Objects, 137-154.

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Tytova, O.M. 2009. Zberezhennia nerukhomykh pam’iatok arkheolohii v zapovidnykakh i muzeiakh. V: Tytova, O.M. (red.). Pratsi Tsentru pam’iatkoznavstv, 15, s. 83-86.

Tytova, O.M., Kepin, D.V. 2002. Muzeinyi pokaz davnikh zhytel Ukrainskoho Polissia (za arkheolohichnymy materialamy). PTsP, 4, s. 49-71.

Tytova, O.M., Kepin, D.V. 2003. Muzei prosto neba na Kyivshchyni. V: Kotsur, V.P. (red.). Vid Trypilskoi kultury do suchasnosti (Vidpochyvaite v selakh Kyivshchyny): Putivnyk-dovidnyk. Kyiv: “Kolo-Ra”, s. 145-155.

Ukrainska Keramolohiia: Natsionalnyi naukovyi shchorichnyk. 2013. Kn. IV, T.1: Eksperyment u suchasnii keramolohii. Opishne: Ukrainske Narodoznavstvo.

Videiko, M.Yu. 2002. Zapovidnyk ta arkheolohichnyi festyval v Biskupini (Polshcha). Rzhyshchivskyi arkheodrom. Arkheolohichni doslidzhennia ta eksperymentalni studii 2000—2001 rokiv. Kyiv: Akademperiodyka, s. 89-94.

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Vovk, Kh.K. 1995. Etnohrafichni osoblyvosti ukrainskoho narodu. Studii z ukrainskoi etnohrafii ta antropolohii. Kyiv: Mystetstvo, s. 39-218.

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Ziubrovskyi, A.V. 2010. Tradytsiina osnova vypikannia khliba na Rivnenshchyni (za materialamy polovykh doslidzhen Hoshchanskoho ta Ostrozkoho raioniv Rivnenskoi obl. u lypni 2009 roku). Narodoznavchi zoshyty, 5-6, s. 776-783.

Ziubrovskyi, A.V. 2014. Vypikannia povsiakdennoho khliba ukraintsiv pivdenno-zakhidnoho istoryko-etnohrafichnoho rehionu v kintsi KhIKh — na pochatku KhKhI stolit. Narodoznavchi zoshyty, 2, s. 250-265.

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Center for Paleoethnological research

VITA ANTIQUA 15, 2024, METHODS FOR MONITORING AND RESEARCH OF ARCHAEOLOGICAL HERITAGE OBJECTS

Alisa Sokolovska ¹
Artificial Intelligence and Prospects for its Use in the Study of Upper Palaeolithic Rock Art
¹ Taras Shevchenko National University of Kyiv
¹ORCID: https://orcid.org/0009-0006-5626-2538

DOI: 10.37098/VA-2024-15-127-135
https://doi.org/10.37098/VA-2024-15-127-135

ABSTRACT

The problem raised in this article is that since the discovery of rock art, the scientific community has been facing many questions related to the development of rock art and its semantic basis. It is becoming more and more difficult for us to call rock paintings the product of only religious or magical ideas, how researchers of the last century thought about it, and it is obviously simply impossible to look into the minds of people who lived thousands of years ago.

The topic of cave paintings is a complex issue, for the study of which we must involve not only archaeological research methods, but also ethnographic and art historical ones. In my opinion, we should try to involve  other  scientific  fields,  in  addition  to  those  already  mentioned  above,  and  apply  the  latest technologies.

Until recently, the only analogies we had available to us were ethnographic comparisons of the creativity and worldviews of primitive societies, but science is not standing still. In recent years, Artificial Intelligence has appeared on the scene, developing like humans, and what is interesting to us is that it is also developing in the field of fine art.

Why do we need to use artificial intelligence to analyse rock art at all? Because, as humans, we often see only what we want to see and therefore project our own worldview onto the analysis of rock art, which makes this analysis more of a psychological portrait of its author than an analysis as such. If we engage in analysis in a machine that is guided only by knowledge and has no worldview, which allows us to use a literally objective ‘opinion’ for analysis, it will not project its own worldview onto the results of the analysis, because it does not have one by definition.

The study raises the question of how we can put artificial intelligence technologies to work now and in the near future. The research methods are an analysis of the level of development of this topic in scientific research and articles by other scholars and an attempt to use such a type of analysis as a comparative analysis in relation to works created by Artificial Intelligence and works created by ancient man, which may, in the future, give us the opportunity to comprehend the images left to us by people of the Palaeolithic era.

The scientific novelty of the work lies in the proposal and attempt to use Artificial Intelligence technology as a tool for the study of Palaeolithic rock art, which has not been used before and did not go beyond assumptions.

According to the results of the study, we can trace a certain similarity between the early works of art created by Artificial Intelligence and abstract works created by ancient humans in the Paleolithic period. Of course, we cannot say that the development of human and AI art is identical, because again, they are fundamentally different. A person painted because he was inspired to do so, and a machine painted because it had a task. Nevertheless, I believe that this study, although it may seem absurd at first glance in the long run, no matter how pretentious it sounds, may be our step towards finding answers to the questions that we have not been able to find for more than a hundred years.

Key words: Archaeological studies, rock painting, artificial intelligence, Upper Palaeolithic, modern research methods.

Language: Ukrainian

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Cite as:
Sokolovska, A.A. 2024. Shtuchnyi Intelekt ta perspektyvy yoho vykorystannia dlia doslidzhennia naskelnoho zhyvopysu doby verkhnoho paleolitu [Artificial Intelligence and Prospects for its Use in the Study of Upper Palaeolithic Rock Art]. VITA ANTIQUA, 15. Methods for Monitoring and Research of Archaeological Heritage Objects, 127-135.

References:

Beautyandai. 2023. History of AI Art from 1960s to 2023 [online]. https://beautyandai.com/blogs/beauty-and-ai-blog/history-of-ai-art/?srsltid=AfmBOoqcT2AsYCJMIfb4DcR__HvnmBh3u-P2bu4D7e7pqtse4IVqeO25 [30 August 2024].

Colson, А. 2020. Rock Art and AI [online]. UCL Heritage Science and Engineering Network Blog. https://blogs.ucl.ac.uk/ [30 August 2024].

Computer History Museum. 2016. Harold Cohen and AARON—A 40-Year Collaboration [online]. https://computerhistory.org/blog/harold-cohen-and-aaron-a-40-year-collaboration/ [30 August 2024].

Digitalartsblog. 2024. History of AI Generated Art [online]. https://www.digitalartsblog.com/tips/history-of-ai-generated-art [30 August 2024].

Katevassgalerie. 2024. Harold Cohen: ‘Once upon a time there was an entity named Aaron’ [online]. https://www.katevassgalerie.com/blog/harold-cohen-aaron-computer-art [30 August 2024].

Leroi-Gourhan, A. (1992) ‘Paleoliticheskoe peshchernoe iskusstvo (religioznoe iskusstvo)’, In: Posrednikov, V.A. (ed.), Donetskii arkheologicheskii sbornik, 2. Donetsk: Avers Ko, pp. 9-29.

Outland. 2022. The Prophecies of AARON [online].: https://outland.art/harold-cohen-aaron/ [30 August 2024].

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Center for Paleoethnological research

VITA ANTIQUA 15, 2024, METHODS FOR MONITORING AND RESEARCH OF ARCHAEOLOGICAL HERITAGE OBJECTS

Liubov Yeredenko ¹
Photogrammetry. Practical application in Archaeology : Scientific and Public Perspectives
¹ Taras Shevchenko National University of Kyiv
¹ ORCID: https://orcid.org/0009-0003-4337-5582

DOI: 10.37098/VA-2024-15-115-125
https://doi.org/10.37098/VA-2024-15-115-125

ABSTRACT

The article is the result of the 2024 qualification work by the author, a student of the Department of Archaeology and Museology at Taras Shevchenko National University of Kyiv. The theoretical part about photogrammetry, which is based on the study of foreign and domestic historiography on the subject, is briefly presented in the introduction and the section «About Photogrammetry».

In the introduction, the author raises the issue of proper documentation: both traditional and new methods. The objectivity of archaeological drawing and photography is discussed, as well as the striking difference between 2D and 3D images in terms of the amount and quality of preserved information about the object. The section «About Photogrammetry» briefly outlines the history of photogrammetry and its increasing use in archaeological research. Photogrammetry is compared with laser scanning systems, and the advantages of combining these methods are examined.

The sections «Practical Experience» and «Results» display the achievements of a workshop on artifact scanning using the photogrammetry method. With the support of the non-governmental organization «Scientific and Research Lab ‘Archaїc’,» a small catalogue of artifacts was created. The experience was step-by-step and thoroughly described in this article. The results section specifies the potential for using the obtained models for future scientific purposes – both for analysis and for preserving at least digital copies in emergencies. The use of 3D models by activists for promoting and protecting the heritage site is also demonstrated.

The conclusions summarize the findings and bring out the main theme of the work – the importance of protecting the Kytaiv Archaeological Complex, its place and significance in the cultural life and archaeology of Kyiv, the capital of Ukraine; the importance of developing archaeological documentation; and the importance of representing academic science to the public through dialogue, including the publication of materials such as 3D models.

Key words: photogrammetry, 3D scanning, monument protection, Kytaiv Archaeological Complex, digitalization of archaeological sites.

Language: Ukrainian

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Cite as:
Yeredenko, L.I. 2024. Fotohrammetriia. Praktychne zastosuvannia v arkheolohii : naukovi ta hromadski perspektyvy [Photogrammetry. Practical application in Archaeology : Scientific and Public Perspectives]. VITA ANTIQUA, 15. Methods for Monitoring and Research of Archaeological Heritage Objects, 115-125.

References:

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Kleijn, M., Hond, R., Martinez-Rubi, O. 2016. A 3D spatial data infrastructure for Mapping the Via Appia. Digital Applications in Archaeology and Cultural Heritage, 3 (2), p. 23-32.

Linka, N.V. 1952. Roboty ekspedytsii «Velykyi Kyiv» za 1947. In: Yefymenko, P. P. (ed.) Arkheolohichni pamiatky, T. III, p. 39-53 (in Ukranian).

Movchan, I.I. 1993. Pivdennyi forpost starodavnioho Kyieva. Tolochko, P.P. (ed.) Starodavnii Kyiv. Arkheolohichni doslidzhennia 1984-1989. Kyiv: Naukova dumka. p. 187-205 (in Ukranian).

Polo, M., Felicísimo, Á.M., Durán-Domínguez, G. 2022. Accurate 3D models in both geometry and texture: An archaeological application. Digital Applications in Archaeology and Cultural Heritage, 27, e00248.

Remondino, F., Campana, S. 2014. 3D Modeling in Archaeology and Cultural Heritage: Theory and Best Practices. n.p.: BAR International Series.

Saif, W. 2022. Photogrammetry: A Brief Historical Overview. ScRAP Guidance (n.d.) 3D Field Recording. PART 1: What is it?. n.p.

Save Kytaiv 2023-2024 [online]. Access mode: https://savekytayiv.com/ [Date of application: 11 September 2024].

Scientific and research lab «Archaїc»  2019-2024 [online]. Access mode: https://archaic.com.ua/ [Date of application: 11 September 2024].

Shishkin, K.V. 1973. Z praktiki deshifruvannia aerofotoznimkiv v arkheologichnikh tsiliakh. Arkheolohiia, 52, p. 32–38 (in Ukranian).

Wilczek, J. 2013. Metody 3D akvizice a jejich aplikace v archeologii (e-learningové materiály). Brno: Masarykova univerzita.

Zhyhola, V., Skorokhod, V. 2021. Zastosuvannia fotohrammetrychnykh metodiv u keramolohii. Arkheolohichna keramolohiia, 1-2 (5-6), p. 181–191.

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Center for Paleoethnological research

VITA ANTIQUA 15, 2024, METHODS FOR MONITORING AND RESEARCH OF ARCHAEOLOGICAL HERITAGE OBJECTS

Anastasiia Diachenko ¹
Ceramics from the Andriivka settlement : new approaches to the preservation of archaeological material
¹ National Museum of the History of Ukraine
¹ ORCID: https://orcid.org/0009-0003-2449-0286

DOI: 10.37098/VA-2024-15-103-114
https://doi.org/10.37098/VA-2024-15-103-114

ABSTRACT

The paper presents general information about the Volodymyrivka local group of the Cucuteni-Trypillia Cultural Complex (CTCC) and its material culture, based on ceramic material from the Andriivka settlement. This settlement is one of the few that belong to this local group.

The research history of the Volodymyrivka group sites is described. It is noted that, apart from the eponymous site, where full-scale excavations were conducted, other settlements of this group were investigated using surface collection and test-pitting methods. The same approach was applied to the Andriivka settlement, whose materials became the subject of this article. The settlement itself is located on the south-eastern outskirts of the village of Andriivka, in the Novomyrhorod district of Kirovohrad region. According to preliminary estimates, the area of the Trypillia settlement covers about 60 ha.

The main focus of the paper is on ceramic production, which is one of the key criteria for distinguishing local groups within the CTCC. The ceramic complex from the Andriivka settlement, which is part of the collection of the Archaeological Museum of Taras Shevchenko National University of Kyiv, includes vessels and clay figurines. Despite the fragmented nature of the material, it supports previous conclusions about the settlement’s belonging to the Volodymyrivka group of Trypillia sites.

Additionally, part of the artefacts from the Andriivka settlement has been digitized. The digitization of museum collections plays an important role in the popularization of archaeological heritage and makes it more accessible to a wider audience. The digitized objects allow not only researchers but also all interested individuals to access information about the Trypillia culture, its development, and the characteristics of its material culture, particularly ceramic production.

Consequently, the study of the ceramic complex from the Andriivka settlement provides valuable insights into the local features of ceramic production within the Volodymyrivka group of the CTCC.

Key words: Keywords: Cucuteni-Trypillia Cultural Complex, Middle Buh region, Volodymyrivka group, Andriivka, ceramic production, digitization of museum collections.

Language: Ukrainian

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Cite as:
Diachenko, A.V. 2024. Keramika z poselennia Andriivka : suchasnyi pidkhid do zberezhennia arkheolohichnoho materialu [Ceramics from the Andriivka settlement : new approaches to the preservation of archaeological material]. VITA ANTIQUA, 15. Methods for Monitoring and Research of Archaeological Heritage Objects, 103-114.

References:

Balme, J., Paterson, A. 2009. Archaeology in Practice: A Student Guide to Archaeological Analyses. Oxford: John Wiley & Sons.

Burdo, N.B. 2001. Terakota tripilskoi kultury. Davnja keramika Ukrainy : arheologichni dzherela ta rekonstrukciyi, ch. 1. Kyiv: Institute of Archaeology of the NAS of Ukraine, p. 61–146.

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Zalizniak, L.L. 2014. Nova mustierska stoianka Andriivka 4 na Kirovohradshchyni. Arkheolohiia, 1, p. 74–84.

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Passek, T.S. 1949. Periodizatsiya tripolskikh poseleniy. Materialy i issledovaniya po arheologii SSSR, 10, p. 245.

Pichkur, E. 2012. The flint tools of Andreevka, the Tripolian settlement on the Bolshaya Vys River. In: Menotti, F., Korvin-Piotrovskiy, A.G. (eds.). The Tripolye culture giant-settlements in Ukraine: formation, development and decline. Oxford: Oxbow Books, p. 169-182.

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Ryzhov, S.M. 1999. Keramika poselen trypilskoi kultury Buho-Dniprovskoho mezhyrichchia iak istorychne dzherelo. Dys. ... kand. ist. nauk. Kyiv: Scientific Archive, Institute of Archaeology of the NAS of Ukraine.

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Yakubenko, O.O. 1990. Rezultaty arheolohichnykh doslidzhen trypilskoho poselennia Volodymyrivka (Kirovohradska oblast), provedenykh 1989 roku. Deiaki osnovni napriamy vdoskonalennia diialnosti muzeiv na suchasnomu etapi. Tematychnyi zbirnyk naukovykh prats. Kyiv: DIM URSR, p. 92-102.

Yakubenko, O.O. 1993. Okhoronni rozkopky trypilskoho poselennia Volodymyrivka (Kirovohradska oblast), provedenykh u 1989-1990 rokakh. Arheolohichni doslidzhennia, provedeni na terytorii Ukrainy protiahom 80-kh rokiv derzhavnymy orhanamy okhorony pamiatok ta muzeiamy respubliky. Tematychnyi zbirnyk naukovykh prats. Kyiv: DIM URSR, p. 61-76.

Yakubenko, O.O. 2011. Antropomorfna plastyka trypilskoho poselennia Volodymyrivka. In: Oliinyk, Yu. (ed.). Natsionalnyi muzei istorii Ukrainy. Tematychnyi zbirnyk naukovykh prats (20 rokiv nezalezhnosti Ukrainy). Kyiv: NMIU, p. 56-80.

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Center for Paleoethnological research

VITA ANTIQUA 15, 2024, METHODS FOR MONITORING AND RESEARCH OF ARCHAEOLOGICAL HERITAGE OBJECTS

Anastasiia Husak ¹
“Traditional” archaeological drawing : a future vestige or a necessity
¹ National University of "Kyiv-Mohyla Academy"
¹ ORCID: https://orcid.org/0009-0001-7995-4813

DOI: 10.37098/VA-2024-15-93-101
https://doi.org/10.37098/VA-2024-15-93-101

ABSTRACT

This article explores the role of archaeological drawing (especially its traditional form) in the development of archaeological knowledge, while also illustrating the generalized process behind the cognitive and mental models of archaeological thought. Archaeological drawing, being subjective in its interpretative nature, serves as an important method of critical observation and analysis of archaeological objects and artifacts.

The main discussion focuses on the necessity of preserving the «traditional» type of drawing in modern archaeology amid rapid digitalization. A comparison of how digital and traditional drawing are perceived allows for an understanding of the cognitive level of two seemingly similar, but in fact, different methods of archaeological recording.

Digital drawing, despite its many advantages, such as speed of execution and the ability to easily process images, is not always able to provide as deep an interaction with archaeological artifacts. When using digital drawing, researchers often focus on the technical aspects of the work, which can distract them from critical analysis of the artifacts themselves.

The nature of traditional archaeological drawing makes it an indispensable tool in research, as it fosters a high-quality interaction with artifacts. Visualizing findings through such drawing is a process that combines cognitive and sensory aspects of perception, leading to a deeper understanding of the object. In addition, traditional drawing remains a reliable pedagogical tool; helping new generations of archaeologists not only master technical skills but also develop critical thinking abilities.

Overall, the decline in the use of the «traditional drawing» method, although not yet observed in Ukrainian archaeology, could eventually alter the perception of archaeological finds. The spread of digital recording methods creates a risk that archaeologists may lose important aspects of research that are tied to deep interaction with artifacts. However, digital technologies continue to integrate into modern science, promoting a faster pace of work and access to research results. Combining traditional and digital approaches allows, ensuring both speed and depth of analysis for more comprehensive results.

In conclusion, while modern technologies continue to influence all aspects of science, including archaeology, traditional archaeological drawing remains an important tool. Its preservation and integration with new methods can contribute to the development of archaeological science, maintaining a balance between speed and accuracy, between the demands of modern science and the deep knowledge provided by the traditional approach.

Key words: archaeological drawing, mental models, traditional drawing, digitalization, cognitive archaeology, archaeological knowledge.

Language: Ukrainian

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Cite as:
Husak, A.M. 2024. “Tradytsiinyi” arkheolohichnyi maliunok: maibutnii perezhytok chy neobkhidnist [“Traditional” archaeological drawing: a future vestige or a necessity]. VITA ANTIQUA, 15. Methods for Monitoring and Research of Archaeological Heritage Objects, 93-101.

References:

Asare, S., Walden, P., Aniagyei, E.D., Emmanuel, M.K. 2023. A Comparative Study of Traditional Art Techniques versus Digital Art Techniques in the Context of College Visual Art Education. American Journal of Arts, Social and Humanity Studies, Vol. 3, Issue 1, pp. 21-34. https://doi.org/10.47672/ajashs.1556 .

Hart, S.G., Staveland, L.E. 1988. Development of NASA-TLX (Task Load Index): Results of empirical and theoretical research. North-Holland: In: Advances in psychology. Vol. 52, pp. 139-183.

Johnson-Laird, P.N. 1983. Mental models: Towards a cognitive science of language, inference, and consciousness. Harvard University Press, No. 6. https://books.google.com/books?hl=en&lr=&id=FS3zSKAfLGMC&oi=fnd&pg=PR6&ots=win8Q-hKKj&sig=-Qc9aKsnRjQ3mENVh1rLaimQtTQ

Jones, N.A., Ross, H., Lynam, T., Perez, P., Leitch, A. 2011. Mental Models: An Interdisciplinary Synthesis of Theory and Methods. Ecology and Society. Vol. 16, No. 1. https://www.jstor.org/stable/26268859 .

Kennedy, H., McKenzie, H. 2024. Art & Archaeology: Employing Drawing as an Observational Technique. Pathways, No. 4, pp. 27-44.

Morgan, C., Petrie, H., Wright, H., Taylor, J.S. 2021. Drawing and Knowledge Construction in Archaeology: The Aide Mémoire Project. Journal of Field Archaeology, Vol. 46, No. 8, pp. 614-628. https://doi.org/10.1080/00934690.2021.1985304 .

Sapirstein, P. 2020. Hand Drawing Versus Computer Vision in Archaeological Recording. Studies in Digital Heritage, Vol. 4, pp. 134-159. http://dx.doi.org/10.14434/sdh.v4i2.31520 .

Stengers, I., Muecke, S. 2018. Another Science is Possible: A Manifesto for Slow Science. John Wiley & Sons, 220 p.

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Center for Paleoethnological research

VITA ANTIQUA 15, 2024, METHODS FOR MONITORING AND RESEARCH OF ARCHAEOLOGICAL HERITAGE OBJECTS

Serhii Ryzhov ¹, Victoriia Tysliuk ²
Cognitive possibilities of studying pigments on stone artefacts
^1,2 Taras Shevchenko National University of Kyiv
¹ ORCID: https://orcid.org/0000-0002-3229-1020
² ORCID: https://orcid.org/0009-0007-3533-9927

DOI: 10.37098/VA-2024-15-79-91
https://doi.org/10.37098/VA-2024-15-79-91

ABSTRACT

Palaeolithic stone artifacts reflect traces of human activity and spatio-temporal natural modifications. The study of stone artifacts and the development of modern technologies serve as an impetus for the development of new methods of reconstruction of the prehistoric past. Findings of the remains of natural dyes have always attracted the special attention of researchers, because it is traditionally believed that such finds rather reflect symbolic and social behaviour, interpreted according to numerous ethnographic and archaeological sources.

Numerous finds of the use of ochre pigments as various dyes and unmodified nodules, which in most cases are interpreted by researchers as a display of symbolic behaviour, are recorded at Palaeolithic sites on the territory of Ukraine. Recent microscopic studies of the ochre pigments and use-wear analysis on the stone artifacts from the Late Acheulean site of Zaskelna IX (Crimea) allowed researchers to hypothesize the use of ochre as one from the components of the adhesive mixture for clamping the artifacts in the handle, which was composed of hides and plants. Taking into account the personal experience of studying ochre pigments on stone artifacts, the authors highlight the main stages and research methods that can be used to reproduce the hominins behavioural activities in prehistory.

In the process of researching the ochre pigments on the stone artifacts originating from the cultural layer, there is a need to distinguish successive stages to study the surface: archeomineralogical, technological and residue analysis, use-wear analysis, and conducting an experiment. Non-destructive methods of studying the surface of a stone artifact are of great importance on the study of the composition of organic and inorganic compounds by modern methods of spectrometry.

Key words: ochre pigments, residue analysis, stone artifacts, Palaeolithic, territory of Ukraine.

Language: Ukrainian

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Cite as:
Ryzhov, S.M., Tysliuk, V.V. 2024. Kohnityvni mozhlyvosti doslidzhennia pihmentiv na kamianykh artefaktakh [Cognitive possibilities of studying pigments on stone artefacts]. VITA ANTIQUA, 15. Methods for Monitoring and Research of Archaeological Heritage Objects, 79-91.

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