[ пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅcпїЅпїЅпїЅпїЅпїЅ ]

пїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅ.

пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅcпїЅпїЅпїЅпїЅпїЅ пїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ.
пїЅпїЅпїЅпїЅпїЅ-пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ, 21 пїЅпїЅпїЅпїЅпїЅпїЅ пїЅ 3 пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ 2009 пїЅ.

// пїЅпїЅпїЅ: пїЅпїЅпїЅ-пїЅпїЅ пїЅпїЅпїЅ. пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ. 2009. 204 пїЅ. ISBN 978-5-93572-350-7

[ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ: ]

пїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ, пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅ, пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅ пїЅпїЅпїЅпїЅпїЅ пїЅ 1837 пїЅпїЅпїЅпїЅ. пїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ.

пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ

пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ. пїЅ 5

пїЅ.пїЅ. пїЅпїЅпїЅпїЅпїЅпїЅпїЅ. пїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅ. пїЅ 7

пїЅ.пїЅ. пїЅпїЅпїЅпїЅпїЅ. пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅ. пїЅ 17

пїЅ.пїЅ. пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ. пїЅпїЅпїЅпїЅпїЅпїЅ пїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅ пїЅпїЅпїЅпїЅпїЅпїЅ. пїЅ 43

пїЅ.пїЅ. пїЅпїЅпїЅпїЅпїЅпїЅпїЅ. пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅ. пїЅ 63

пїЅ.пїЅ. пїЅпїЅпїЅпїЅпїЅпїЅпїЅ, пїЅ.пїЅ. пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ. пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅ пїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ. пїЅ 77

пїЅ.пїЅ. пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ. пїЅпїЅпїЅпїЅ пїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅ пїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅ 1837 пїЅ. пїЅ 97

пїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ. пїЅ 116

пїЅпїЅпїЅпїЅпїЅпїЅпїЅ [ пїЅпїЅ1-59 ]. пїЅ 117

пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ. пїЅ 180

Summary. пїЅ 201

[ пїЅпїЅпїЅ. 1: ]

пїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ, пїЅпїЅпїЅпїЅпїЅпїЅпїЅ пїЅ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ.

[ пїЅпїЅпїЅпїЅпїЅпїЅпїЅпїЅ. ]   ^

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Summary.   ^

The exhibition represents one of the most important burials of Classical Antiquity in the collection of the State Hermitage Museum, the so-called пїЅGolden-Mask BurialпїЅ, also known as the Rescuporides Burial, and the Queen with Golden Mask Burial, discovered by Anton Ashik in 1837 in Kerch. According to the archaeologist, the discovery took place when he was digging a barrow, 9 m high, in the vicinity of the Glinishche village, near Kerch. Below the soil level, a marble sarcophagus with a ridgelike-roof imitation and four acroteria was found. Most likely, the sarcophagus was inside an earth burial vault. As Anton Ashik pointed out, in the sarcophagus was a woman, with a golden mask covering her face, wearing a wreath, her clothes besprent with golden plaques. The other objects inside and outside of the sarcophagus included bronze and silver vessels, decorations, parts of furniture and a large silver plate inscribed пїЅKing RescuporidesпїЅ related to one of the Bosporan kings of the Roman period. In the same year, the burial materials were shown to Nicholas I during his visit to Kerch, to be given to the Imperial Hermitage Museum thereafter.

The important findings from this burial became the embellishment of the Hermitage collection; the golden mask can be regarded as a symbol of the museum. Nonetheless, numerous problems arose in connection with the finds. Some of these (arms, wreath, bridle) must have belonged to the burial of a man, while the decorations and the spindle are from a womanпїЅs burial. In this context, the question arose whether the burial belonged to a man or a woman. According to some, it belonged to King Rescuporides. The fact that the date of the objects discovered lies between the 2nd and the 4th centuries A.D. suggests that the interpretation of the burial materials was incorrect, moreover, that they were composed of finds from several burial complexes discovered by Anton Ashik.

To solve some of the problems connected with the пїЅGolden-Mask BurialпїЅ is one of the aims of the present exhibition, which, for the first time in many decades, shows all the objects of the archaeological complex in question in the collection of the Hermitage. To give a better idea of the composition and chronology of the complex, the catalogue has comprehensive articles by leading experts, discussing the various problems connected with the mysterious burial.

In the Introduction, Alexander Butyagin describes briefly the circumstances of the discovery and gives a survey of the problems connected with the complex, focusing on the scanty data concerning the design of the burial, which point to a time not earlier than the 3rd century A.D. It is not impossible that difference in opinions as to the date of the vessels and the gender of their contents results from the repeated use of the third-century burial, at the end of the same century and in the early 4th century A.D. The author also dwells upon the use of burial masks in different cultures. Possibly, masks were used only when the face of the deceased could not be shown because of the degree of decomposition.

In Oleg SharovпїЅs article, one can find a detailed description of all the aspects of the Rescuporides Burial problem, including the circumstances of the discovery, the transfer of the finds to the Hermitage and some inconsistencies in the

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publications. The article centres on the objects of precious metals found in the burial. Generally, the burial has been dated to the second half of the 3rd century A.D., on the basis of the finds discovered.

Sharov has identified the burial with that of Rescuporides V. The gender aspect has been paid special attention to. The anthropological study of the mask, suggested by Sharov, has shown that the mask depicts a man. Classical Antiquity sculptorsпїЅ mastership in the depiction of human body is beyond doubt, therefore they were certainly able to convey accurately either male or female facial features.

The article by Mikhail Treister, the leading expert in Classical Antiquity metalwork, is concerned with the objects of bronze and silver, which constitute a considerable portion of the burial material. Treister has divided the finds into two groups, viz. those belonging to the burial of the 2nd пїЅ first half of the 3rd centuries A.D., and the finds from the burial of the second half of the 3rd пїЅ early 4th centuries A.D. The two groups may be the result of the use of the interment for two chronologically successive burials, the latter belonging to Rescuporides VI of Bosporus.

Olga GorskayaпїЅs paper is devoted to the golden objects in the burial, both the outstanding jewellery works and the golden plaques. The latter were produced in quantity generally and constitute the majority of the finds of this type in the burial. Gorskaya dates the burial to the 3rd century A.D., stressing that in the burial inventory one can discern both male and female groups.

Of considerable interest is Yakov FrenkelпїЅs article. It deals with beads, that, at first glance, may seem an unimportant kind of material. Although only eleven beads on one thread have been discovered, on closer scrutiny two chronological groups of beads can be discerned, viz. those of the 2nd пїЅ 4th centuries A.D. and beads of the Hellenistic period (or probably earlier). This is fairly typical of the burials of the Roman period. The two early beads suggest that the thread is datable to the 3rd century A.D.

The last paper by Raphael Minasyan, the outstanding authority in woodworking techniques, and Ekaterina Shablavina, presents a detailed analysis of all the aspects of production techniques relating to the finds of the Golden-Mask Burial. Each of the finds is dealt with separately. The authors date some of the objects to earlier than the 3rd century A.D. It should also be noted that the golden plaques are hardly suitable for wearing constantly on clothes; it follows that they were made specially for the present burial.

Besides the materials of the Golden-Mask Burial, the exhibition shows other masks from the Hermitage collection. The spectators can compare different versions of the mask tradition, e.g. the golden mask of the 2nd пїЅ 3rd centuries A.D. from the necropolis of the Greek colony of Olbia (near Nikolaev); the 1st пїЅ 2nd пїЅ mask from a Sarmatian hoard near the village of Zalevka, the Dnieper area. Two masks are from Egyptian burials. Three masks from Khakassian burials, datable to 3rd пїЅ 6th centuries belong to the Tashtyk culture. An interesting version of a burial mask is the mask of grimhelm from a twelfth-century Polovets burial.

It should be stressed that the Golden Mask materials are shown to the public as an entire complex for the first time after the discovery of the burial. We are hoping that the exhibition and the catalogue will revive an interest in this important complex and lead to the solution of the majority of the problems connected with it.

пїЅпїЅпїЅпїЅпїЅпїЅ