The Lashkendar Church and the Alan-Abkhazian Cultural Contacts: Prospects of Studying

The article studies the Alan-Abkhazian cultural contacts by analyzing architectural decorations of these peoples. Actuality of the study is determined by considering the architectural decorations as a cultural marker of Abkhazians and Alans in the period of the 8th—10th centuries. This point of consideration is primarily important for studying the material culture of the ethnic groups living in close proximity to the route of the Silk Road, which is regarded as a powerful catalyst for cultural exchange between the numerous tribes and peoples each having its own unique and diverse artistic skills. The article compares a number of artifacts: some fragments of the altar barrier from Anacopia (Republic of Abkhazia, New Athos) and some fragments of the altar barrier from the Ilyichevskoe Hillfort (Krasnodar Region, Otradnensky District). This allows the author to state that there existed common ornamental schemes in the monumental art of those peoples in the period preceding the 13th—14th centuries. The article analyzes the patterns and zoomorphic images of “animals in a heraldic pose” from the church on Mount Lashkendar (Republic of Abkhazia, Tkuarchalsky District), and a dog from the Alan tomb of the Kyafarskoe Hillfort (Karachay-Cherkess Republic, Zelenchuksky District), providing additional arguments for the animals’ identifi cation. The author explores the system of images of the Alan tomb to determine the semantics of the dog’s image in the Christian church’s decoration and comes to the conclusion that the symbolism of the dog’s image originates from pre-Christian beliefs (namely, those Zoroastrian). The article emphasizes the fruitfulness of studying the Alan-Abkhazian contacts using the example of architectural decoration: it makes possible to identify some images and specify their dates. The author offers a variant of identifi cation of the relief from Mount Lashkendar; defi nes the place of this unique monument in the course of formation of the original artistic culture of the Abkhazian Kingdom; notes the heterogeneous infl uences on this process, coming both from the territories of different regions of the Byzantine Empire (Constantinople, Cappadocia, etc.) and from Transcaucasia (Armenia, Georgia). The Alan-Abkhazian layer of cultural contacts is highlighted.

Abkhazians, Alans, dating problems, architectural decorations, altar barrier, tomb, relief, zoomorphic images, system of images, semantics of the image, symbolism of the dog’s image

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