![]() Different peoples certainly practiced a kindred art with a common mythological and ideological base, but nomadic art from different regions is characterized by different formal features. ![]() Relations with the peoples occupying different parts of the Eurasian steppe zone remained for a long time a source of the exchange of artistic ideas and elements, which formed various versions of the Animal Style. Nomads adopted some features, zoomorphic motifs, and animal images, which were consonant with their own ideological and mythological conception. Nevertheless, none of the cultures with which Eurasian nomadic tribes came into contact possessed anything comparable with so-called Scythian Animal Style art. The nomadic world is various, movable, and receptive, and there are a lot of traits of different contacts and impacts reflected in nomadic art. At the same time, Animal Style art is a very complicated phenomenon with numerous local variants and it could not be determined as something homogeneous. This fact confirms the assumption of the origin of some of Siberian jewelry.Ī cultural and artistic phenomenon of the so-called Scytho-Siberian Animal style is one of the main distinctive features of Eurasian nomadic art. Some parts of the composition on the bracelet are similar in style to zoomorphic images from kurgan Issyk in Kazakhstan which perhaps were made in the same workshop. So, there is evidence of collective work on the object when each artisan makes his own operation to create a unique jewel at a workshop. There is no doubt, that the zoomorphic images show three different authors’ hands, and were made by different artisans. All three parts of the bracelet are created in a unified style, but obviously in different individual manners. It consists of three open-work strips with zoomorphic compositions in an animal style similar to the above-mentioned stylistic group. It represents a rare type of ornament with a multi-component structure. ![]() The paper considers a bracelet from the Siberian collection of Peter the Great which is the only item in this category of jewelry type of bracelets. Genetically, such an ornamental motif, which is not generally typical for Persian art, may be linked to a periphery area of the Iranian world and nomadic culture, while the group of sites can be dated back to the 4th–3rd centuries BC. A distinctive feature of this group of zoomorphic images are colored inlays that accentuate a hind-leg or a shoulder of the animal such inlays have the form of an intricate figure made up of a circle and a curvilinear triangle abutting to it or elongated round brackets. The paper focuses on a compact group of items originating from various mostly unknown sites from different territories in Asia including the Oxus treasure, several items from the Siberian collection of Peter the Great from Southern Siberia, a few jewelry pieces from other collections of the world museums as well as items made of leather and felt coming from the First and the Second Pazyryk kurgans. The Siberian collection of Peter the Great includes some different groups of golden ornaments decorated in animal styles of different origins. Together with the technical-technological methods these formal features could be evidential indications of the origin of works of art. The animal style is a concept of more scale than an artistic style proper which distinguishes with some formal characteristics and depends directly on generic traditions and ethnic and cultural roots of art. This paper is devoted to the problems of differentiation of stylistic variants in the common phenomenon of the so-called Scythian and Siberian animal styles, which is one of the main distinctive features of Eurasian nomadic art.
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