Animal drawings and the scenes of break off
A big group of Gamigaya traceries belong to
animal images. These images reflect the beliefs
of people, which have been forming for thousand
years. A walk of life of the ancient people has
played a definite role in formation of their
clerical and mythological outlooks. The
archeological analysis show that starting from
the mid of III era before our century (B. D.), a
small horned livestock had occupied a preferable
place in the cattle breeding. Together with
cattle breeding, hunting also kept its own
position in the economic life. Cattleman hunter
tribes have been observing the animals for many
days for hunting purposes; the defense measures
of the cattle breeds caused creation of some
legends and myths in the imagination of humans.
Drawings of
goat dominate among the
animal illustrations. Goat images have been
described as alone, in pairs and in groups and
sometimes on their back- on upside down
position. Domination of goat images has closely
been connected as with human’s beliefs, as well
as with their way of life. Such as, the wild
goats still exist in Nakhchivan Gamigaya and we
have to doubt that in the past period their
number was more and it has played a definite
role in the human life. Preference to the goats
in animal breeding eventually, was connected
with its high productivity and easy adaptation
to the local conditions. As animal husbandry and
development of animal breeding were the
questions of life for the humans, their images
had also been reflected in the peoples’ beliefs.
On one of the images there were described two
goats and next to them one kid. Evidently, these
describe the beliefs of people related to the
productivity. On the other illustration there
are described two goats standing opposite to
each other near the branch of the tree. One of
the beloved motives of Gamigaya is the image of
a group of goats. One of the goats is described
on the downside standing opposite to each other.
Another goat’s horns are tightened in the “B”
like image. We often meet “B” sign on Gamigaya
traceries, which also symbolizes productivity.
On other drawing there is described a group of
three goats; there are swastika pictures of the
wild animal and the goats shown on the upper
side on the left from them. One of the swastika
images is encircled, as we mentioned above, V.
Aliyev got resembled these swastika pictures
with human figures. Here we meet the canonized
description of the cosmic world model. A circle
inside which was drawn a charkhi-falak picture
depicts a Space life and a drawing looking like
a human on the right side from it, shows the
animals’ God protector; the drawing of goat
shows the middle world and at last he wild
animal represents another world. On this drawing
it is depicted the picture of ousting a chaos
and protecting a productivity. We have also met
the astral symbols of goats’ drawings. On one of
the images there were described two goats on the
right side the horns of which were completed in
the shape of circle; on the left side from them
a goat standing on one leg and on the next one -
two goats lying on their back side upside-down.
Under the illustration of this picture there is
described a picture of bird or a fantastic
entity looking alike a human figure. V. Aliyev
has interpreted the circle to be goat’s horns,
which is related to the ancient totems’
existence to represent the Sun on the Earth. To
our mind, this idea is logical. Goats’
correlation with Sun and with spatial World have
so strongly depicted that you can very easily
find it out. The fantastic entity making an
attack towards the goats is representative of
another world; it has killed one of the goats
and it is going to attack to the next one. On
this illustration there is described a struggle
of the orderly and cultural world with chaotic
beginning world; here is also a depiction of
picture that the world is ruled by the God.
The horns of one of
the goats are described in the shape of curled
snake. It is interesting that behind the drawing
of this goat, there is shown a picture of kid.
The description of goat’s horns in the shape of
curled snake shows its connection with snake.
The semantic meaning of this correlation has
sufficiently been explained in the ancient
descriptions. The description of snake, which is
connected with chthonic forces, is also a legend
of harvest and vegetation world.
Goats’ description in
grazing position or in the position when they
have grass in their mouth is connected with
definite symbols. We have met these cases on the
clay utensils of Eneolith and Bronze
period when a goat
held grass in its mouth. Goats’ connection with
vegetation world is more clearly illustrated in
the materials of Mesopotamia. It is already
shown that connection of food with productivity
and birth is reflected in Azerbaijan folklore.
The legend connected with Safavi king Mahammad
Khudabandi said that he had no child. One-day
dervish gives him an apple. He says him to eat
half of the apple himself and the next half to
give his wife. You’ll have a child. After the
king divided it with his wife his child came
into the world. On this period there was a ruler
by name I Shah Abbas. The similar episodes are
very often met in Azerbaijan tales. As we
mentioned above, on one of the Gamigaya pictures
the goats were described together with the life
tree. The life tree’s fruit is a food belonging
only to the God and it provided the animals
productivity.
The existence of goat cult and goat ogonun
among Turkic people was also described in the
names of takali tribe. In various places of
Azerbaijan there are also the villages by name
Kechili (“kechi” means “goat”-Transl). As it is
known, in previous shumers a goat was also
considered sacred and the people also worshiped
it. During the analyses of Gamigaya traceries
there are apparently seen similarities with the
ancient shumer mythology. Without doubt, there
exists some kind of connection between the old
and current period of beliefs about the goats’
holiness.
The images of deer are
also among the traceries found in Gamigaya. They
are distinguished by their highly realistic
descriptions; a deer with branching pair of
horns. We also meet deer’s description on the
colored utensils, which belong to the Medieval
Bronze
period. During the
archeological excavations in the residential
locations there have been discovered a lot of
deer bones, findings made out from the deer
bones; all these prove that deer occupied a
certain place in life of ancient people. These
beliefs have widely been illustrated in
Azerbaijan folklore. Existence of toponymies
like “Maral Dag” (“maral” means-“deer”-Transl),
Maral Gaya”, “Maral Bulag”, “Maral Gol” are
connected with these beliefs.
A little quantity
of the drawings is description of the birds. The
birds’ descriptions are either given in
realistic or in schematic style. Let’s note that
we have met the birds’ images on the colored and
grey clay utensils that belong to the Bronze
period. They are distinguished with their
descriptions given in realistic, schematic and
fantastic styles. We also meet with the
traditions of putting birds’ bones into the
humans’ graves in Nakhchivan. The illustrations
on the clay utensils and putting the birds’
stones into the graves show that bird’s cult was
widely spread during Bronze period among the
tribes living in Azerbaijan territory. The
drawing of swallow found on the southwest part
of Gamigaya on a huge piece of cliff of Daligaya
Mountain is in realistic style. As the
illustration is covered with alga it shows the
drawing belongs the old ages. Because here only
a few part of the drawings are covered by alga.
Description of swallow with a “Y” like tail,
without doubt, is connected with image of
swallow, which is met in the legend of Nuh, or
in other folklore samples of Azerbaijan. In the
legends a Swallow is given as a representative
of Heavens, rescuer and it is described as an
image to defend the people from the evil forces.
Beliefs connected with swallow are also widely
spread among other Turkic nations. According to
the belief existing among the folks a swallow is
inviolable. It is considered a sin to drive it
out of its jack or to destroy its jack. By
expressing various myths, Gamigaya traceries are
somehow also connected with hunting and animal
breeding. The drawings of partridges are also
connected with this belief. A ptarmigan is now
also called as a holy bird in Ordubad. The
mythological beliefs connected with bird are
reflected in the poem “Akil bakil gush idi”. The
image, which is connected with hunting, is
considered a protector of birds. It has its own
protector, as well.
On some places of Gamigaya we meet the
drawings of dog. As it is clear a dog is one of
the first animals that are trained by people.
The archeological findings prove that beliefs
connected with dogs had occupied a definite
place in people’s ideology. From one side it
shows that a dog was a human’s close assistant,
and from other side it assumed a holy meaning.
From this view, one monumental work, which was
discovered by S. A. Khalilov during his
investigations, is worth to our attentions. Here
on clay utensil it was illustrated two human
figures and a head of dog. A researcher
ethnographer, basing the materials, noted that
the fact of hanging dogs’ head upon the gate is
connected with defense from the evil forces.
One of the images, which are often met in
Gamigaya, is connected with snakes. Most
frequently a snake is depicted in a dynamic
quick turn position. But some spirals’ completed
with snakeheads show that they imitated the
curled snakes. There are many beliefs in
Azerbaijan folklore connected with snakes. In
legends there are the images related to white
and black snakes; human beings help a white
snake, and it is forbidden to kill the white
snake. According to the legends preserved in the
beliefs a snake residing at home shouldn’t be
killed if you would kill that all the wealth
will disappear from that home. The separate
snake images depicted on Gamigaya are connected
with the ideas of protection of vegetation and
defense of productivity. In Gamigaya the image
where the snake stands face-to-face with goat
shows the relations
between
chthonic and
ground
worlds. On one of the drawings there are
illustrated a goat, snake and fish. To our
opinion, description of fish with snake is
connected with water elements. Fish is a
representative of water, which is included into
a chaotic beginning. In Azerbaijan folklore
there are the legends where the owner of the
water is described as a half fish creature.
On Gamigaya the scenes of the struggle among
the animals represent a group of drawings
containing mythological content. Some of these
drawings have been recorded by V. Aliyev and
published. There is illustrated a man on the
right side with his hands up position and next
to it there is described a picture where on the
left side an animal with long leg and two other
wild animals are attacking to a goat. To our
viewpoint, a man described on the right side is
the God protector of the animals. On this
drawing the representatives of middle world has
been put against the representatives of the
other world. This is a very universal picture
reflecting the cosmic world model; it gives an
idea of necessity to sacrifice for the
continuity of the world. V. Aliyev’s
interpretation of this scene is connected with
protection of totem, which looks like to be
right. On the other picture there is described a
half animal attacking to a deer; eventually
there are described the birds images and from
them on the left side the opposing tiger and ox
images. The illustration, where wolf is standing
face-to-face with goat is very interesting.
Between them there is described the tightened
from the edges wire which is connected with
magic of closing wolf’s mouth and escaping from
inevitable death. In front of this magic the
devil becomes incapable and tries to escape,
that’s why in Ordubad region there are still
preserved the magic related to closure of
wolves’ mouth.
On Gamigaya during investigations there have
appeared three more drawings describing the
struggle of animals. On one of these drawings
there is described a big horned animal and on
the upside of this there is a description of
gazelle. Here it is described the ideas of up
and down which is peculiar to the ancient
mythological thoughts. On the next drawing which
is not preserved in very good condition it is
described a scene, where a lion is attacking to
cow. The drawings are in dynamic moving
position. A cow is shown in a position while it
runs and a lion has caught from its bosom. Let’s
note that this illustration is in realistic
style and it is performed on a high masterly
level. There is no doubt that, for its drawing
some metal instruments had been used. The
masterly level depiction of the details on this
picture made a testimony that a professional,
who had gat a high level of skills, performed
the drawing. Although the last drawings differ
from iconographic viewpoint, it reminds the
illustrations of Mesopotamian break offs. The
likely illustrations have also been met in
Azerbaijan monumental works, which are found
during archeological researches.
On Gamigaya we also encounter a description
of animal figures standing back-to-back. On one
of the drawings there is described a goat
standing back-to-back, on the next one a goat is
standing back-to-back with deer. The likely
animal figures are widely spread on the Southern
Caucasus archeological monuments.
A group of inscriptions on the rock consists
of signage, which reminds the animal horns. To
our thought, the animals’ horns symbolize the
animals themselves. It might be possible that as
the drawings are performed by various categories
of people it had not always been possible to
describe them as a whole.
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