Trypillian Civilization 5400 - 2750 BC


Kolos Corp.

The Sacred and Magical in the Trypillian civilization 

©Nataliya Burdo

In its article I attempted to brush picture up of Prehistoric Sacral world and the Magic space of enigmatic Trypillya civilization. The Reconstructed pictures are not always sufficiently intelligible, by times even misty, but always majestic. Seemed, for hundred years about spiritual society life study, which omitted to us into heritage a Trypillya culture, whatever one can be written. Only names list learned, which devoted to this theme its labour brings unanywhere on which respect and horror even to touch it. Seemed, whether one can be found here something unknown, to say a new word? That is why by its main aim I put to gather and to systematize archaeological materials, to do them accessible for further scientific developments. This labour, however got for time the results outrivaled most daring expectations.

Application of approaches complex and systematic study of all without exception artifacts and finds allowed to analyse them in such scope and combinations, which before were not enabled in identical studios. This enabled to reproduce a most possible model, to come in sort around understanding "of Trypillya" sacral sphere.

On reconstructive stage by major task on elementary stage stood determination of methodical labour foundations. Being historiography from study problems of spiritual Trypillya sphere is by bright reflection ruling in USSR spreaded scientific theories, in base of which lied brightly expressed economic determinism and primitive evolutionism, religion role underestimate, as important factor in the social development

To approach study of asking put into labour after Trypillya magic, first of all was seen out a reverberation search of magic organic(regulations) law, laid out in suitable special books, in precise and analysed by us artifacts and complexes.

Prettily clearly draws unity of Trypillya sacral space with Mediterranean and sacral space of Old East. In this space bowed to Big Goddess into different her hypostasis. Her image is always associated with Moon, Bird and by Cow. This Big Goddess could adopt offences Goddesses-Birds, Goddesses-Cows, One in two Goddess. This was Moon Goddess, it with it associated offences snake and she-bears. Goddess-cow Appearance is, on our thought, by prettily bright testimony of agrarian civilizations establishing.

By most old sacred image, which resorted to reconstruct, there is Goddess Bird. It extraordinarily archaic and, that interestingly, already practically does not fix a milennium posterior to V beginning to Christ. This image was widespread in Vinca cultures, Krish and other, that belong to Balkan- Carpathian region. Taking into account prettily distinct and numerous archaeological data about intensive contacts and Trypillya intercourses with these regions, this is by quite appropriate phenomenon.

However in process of time in Trypillya sacral space takes place union of images of two Goddesses. In Big Goddess we see Goddess-Cow of traditions Afro-Asian and Indo-European, and also Prahistoric Goddess-Bird image.

To World Trypillya artifacts resides in anthropomorphism. Broadly speaking it, possibly, reflects an image of Big Goddess, which her symbols forward Month and Snake. Among womanish sacral images exude Woman with baby (Madonna), Goddess-Cortex, Goddess-Matron. On base of comparative analysis set, that into Trypillya we find not only artifacts with sufficiently clearly expressed anthropomorphous lines, but and such, that not quite intelligible and accessible at first blush. Consequently, by dint of comprasion of the plastic arts, forms and pottery ornamentic resorted convincingly to lead, that the numerous handles of Trypillya vessels are by nothing to other, as anthropomorphous symbol. A Elementary realistic in process of time conceded schematic image, maintenance of which, possibly , already was not to sufficiently intelligible peoples, which them did. This is a bright display of some existed traditions of material culture in tearing off from their primary sense, which, it is possible, was forgotten, or half-forgotten.

To Us resorted to express a new sacral image is offences androgine. This is a divine perfect wight, which is by embodiment all oppositions.

Masculine image is present, but insufficiently clearly expressed. It is possible, it is by Goddess-Cortex correlate.

Long prettily the numerous Trypillya artifacts with bucranies images interpreted, as allegorizing bull. Combination of bull images and God-Bull womenfolks and Womenfolks-Earth, beginnings masculine and womanish, Sky and Earth. On our thought these reconstructions relate to more late times, than Trypillya culture. To Us does not resort to fix images enumerated above in precise material. The Being images bucranies in being context somewhat quicker for all symbolize a bull, as sacrifice. A God-Bull Image found extremely enervated reverberation into artifact.

In Trypillya ornamental pattern find the numerous snake images. A snake Image is by exposure of monthly deity. Combination of snake and Month is by unique image especially Trypillya, developed namely in this culture. Separately these offences are fixed in mythology, however their combination can be thought by own Trypillya invention.

Some Trypillya magic artifacts is by straight accordance to attributes of magic practice, which is described and explored by anthropologists.. In Trypillya ornaments we find the replicas of sacral manifestations, which explored in treatise on religions history Mircha Eliade. Goes about Rising myth, role and significance of Month, allegorizing living she-bear wights associated with Month, dog, snakes, shells. Taking into account magic practice described by anthropologists, there are all of reasons to think, that animals "processions images ", famous on Trypillya painted pottery ( in catalogue for us contained such vessel, dug out by V.Khvoika into Krutoborodintsi-II there are such images on vessels from Varvarivka -VIII, excavated by V.Markevich ) is not something else, as by ritual processions, which took place attached to execution of ceremony offering. Image of dog in Rising stages on Sky up the endless steps is by image of understanding old to process gist offering, arriving at immortality in sacral sphere on the strength of revival after offering. Reminisce interments" finds "animals, or skulls of them, which reflect a material side of this ritual.

Resorted to express the definite stages and conformities to natural laws in forming of Trypillya sacral sphere. On formative stage (Trypillya A-Precucuteni, Trypillya ²-Cucuteni And, -5400-4400 ) prettily perceptible there is influence of sacral cultures images, which were participial to genesis of investigated cultural complexes. A Later (begining from ²- stage ) Trypillya sacral sphere demonstrates the parameters of sacral spheres of neighbouring civilizations, but becomes evident her all-sufficient. A Model, which was, can consider, as original sacral complex, steady to external influences. A even population flow from Central Europe (Lengyel-Polgar circle of cultures ) does not find considerable reverberation, barring small episode, when in east Trypillya diffusion regions for a some while (by 4200 4000 ) being the magic ceremonies without use of the plastic arts. Already on ² stage status- quo was renewed, and Trypillya magic practice again gives its bright displays.

A sacral complex imagines as whole one for all Europe, however concrete old societies created own, original, and at times at all unique magic rituals. A Last circumstance creates unanywhere which embarrassments attached to wide use of comparative method attached to study of these the past phenomena.

In base of sacral complex reconstructed by us, on our thought, underlied revival recreation idea, achievement by dint of execution of some consecration rituals of highest aim is immortality of human soul. Sacral activity was directed foremost on speaking of being world order, in support of fight with Chaos. By Constituent of this eternal wrestling were actions, directed on revival and man immortality, which was in this regard to make even with Gods. This found sufficiently clear reverberation in rituals, which is fixed on sum precise by us artifacts.

A wrestling Process for immortality and revival was endless and called for permanent strained activity. In this industry Trypillya society went towards own by dint of, creating and developing the rituals original for Eneolithic Europe.

First of all this is a settlements incineration ritual. We tail to beginning archaeologist Vikentij Khvoika thought, who interpreted the oddments of Trypillya dwellings, as "houses of the dead", which were identical to interments for storage of found stock. Afire sacrificial stowed with pottery, labour implements, by food and other stock of dwelling burned afire sacrificial, which kindled attached to transference of settlement elsewhere. A ritual Purport, on our thought, in given case was in revival of ancestors souls for eternal life in sacral sphere. This was most grandiose, and possibly , most majestic from Trypillya rituals, if to take into account, for example, dimensions settlements-protocities on in V end on IV beginning of milennium to Christ.

For workloads invested and efforts a given ritual does not get to building megaliths in synchronous toTrypillya the FBC (TRB) communities. However it is not so evident, as grandiose buildings from to stone. Is impressiv a chronological diapason existing of dwellings incineration ritual over two years thousands, that can go into weighing with age of world religions.

The offering was the basic magic ritual, the traces of which sufficiently are clearly fixed in archaeological Trypillya -Cucuteni culture materials. Exclusive of mentioned higher ""the great sacrifice" dwellings and settlements there are the traces of concrete everyday actions for example, finds buried into earth, sometimes together from some artifacts, bulls skulls, dogs, other animals. We think, that to category sacrifices trace to bear away peoples interments expressed on territory of Trypillya settlements, in that number of children.

Consequently, in Maydanets settlement beside one of dwellings dug out big pit, in which exclusive of other objects, found a little ten figurines for bovide and ovide appearances. T. Moss directs a row of immolation ceremonies examples, directed on recreation of earth fecundity, directed to breathe into earth in divine life, to which it potentially has, but to fasten into ground of spirit, which it impregnates.

Although magic ritual actions do not contain reverberation of myths, but there is a special form of verbal invocation ceremonies of mythological disposition (Moss, 2000, .147). An effect of magic ceremonies breaks down under necessity to bring on other-worldly forces. Language to called special language, gods language, spirits, sorcerers. At that everywhere magic uses to language archaisms, artificial and incomprehensible terms. Contemplate, by trace for ..Tkachuk, that in Trypillya society a magic language found definited reverberation in painted pottery, on which to us reached a magic - sacral pictography. By the way, T. Moss marks, that magic spoke out on sanscrit language in epoch of India prakrites, on egyptians language into jews and greeks, on greek to language into Latyns, on Latin in dark ages. As analogy can be brought over fixed by .. Tkachuk appeal of Trypillyans to signs of previous epoches, that quite logical from point of view of magic practice to make use of archaisms for its language.

In magic definitely are regulated the gestures. A Magician subordinates to their rhythm, as in dancing. In tie with this supervision T.Moss interestingly to consider the gestures, which fixed into Trypillya artifacts, which give a possibility to draw analogy and with ritual dances.

In magic ceremonies is fixed use for magic two or three dolls. Namely with such example possibly to balance part m dualistic Trypillya artifacts, from double binoculars vessels, pair images, to two wights on vessels. Three object also are combined into one, this so yclept "trynocles". T. Moss indicates on that to each society magic has its, unique appearance, which characterizes by diffusion of definite ceremonies. Each magician in identical cases makes use of one the same recipe, always the same bewitching objects. The Magicians frequently have specialization for that ceremonies, as they practise. The unoccupational magicians know quite little ceremonies, that's why they repeat them over and over. Just so a recipe uses carelessly, without any sort maintenance, becomes quite incomprehensible. Here evidently, that a form attempts to outbalance maintenance. Accordance in Trypillya artifacts we see, for example in binocular vessels, which made in Tomashivka group. They only formal walked on binocular of previous times, do not have the holes and can not use so, as in "olden times".

Images Widespread on Trypillya pottery of concentric circles can be considered as magic concentration symbol of sacral space. Will Foretell, that in Trypillya ornamets concentric circles consider by naturalists as Solar symbols. If into sacrifice brought round animal, it in every way possible adorned, in that number and by ribbons. The It is possible Trypillya zoomorphical statuettes, adorned by different methods, in that number and ribbons, symbolized a namely sacrificial animal. The killing Rituals were lustily various. When instead of animal into sacrifice brought round torment and bread, them threw into fire. Destroying of sacrifice meant execution of main act immolation. Sacrifice was devoted, changed its essence, her death was like the phoenix death: it regenerated in sacral world. Sacrifice after immolation likened to dead, a soul of which for hours together abides in other world and for hours together in body of that, who only died. To get away clear that, that remained from immolation ceremony, took the desinite ceremonies, the frequently oddments set before to fire, buried into earth. Even ashes, which stopped behind after cremation, do not throw where hitted, it hid in towns specially picked out for this, as were under guard of religious prohibition. That's why we think, that various artifacts from by fire traces, ashes, and also that, that originate in pits, one can be thought by traces an immolation.

Under magic symbols, or signs, we understand not only signs, picked out T.M.Tkachuk on Trypillya painted pottery (, , 2000), and prettily wide circle images, to which the signs-icons enter, signs blocks, ornamental compositions, and also factually be which manifestation of definited images into artifacts. All of types of cargo magic by with magic-sacral pictography (, , 2000) compose a magic language of Trypillya society. A Trace also to remind of T.Tkachuk opening, which fixed in Maydanets, gigantic proto-city by area over 200 hectares, that on big dug out allotment to each house were inherent its signs-blocks. The simple signs are observed in each house. This can bear witness to that the simple signs and methods of their mounting, among which any amount of semantic markers, were general, and the blocks were created in each house, or for each house and almost do not repeat in ambient bilding

Materials, which bear witness to magic ceremonies, envelop lustily wide circle archaeological artifacts. This is into first turn the oddments of Trypillya dwellings, scorched in conflagration, various components cultural to pit layer with ashes, bones, domestic and sacral objects, and also definited special notes, vessels disintegrations are fixed outside dwellings boundary paths, "treasure troves " but "interment" of animals and human on settlements and in dwellings.

On archaeological material we fix such ceremonies.

  1. Incineration Ritual of Trypillya houses, possibly associated from by interment and immolation.
  2. A Ceremony, attached to which buried under houses or on settlement, animals, their heads or parts, possibly associated with immolation ceremony.
  3. A Ceremony, which was attended with burying (by interment) under dwellings or on settlement of human skulls, bone, sometimes burnt, the deceased with stock, possibly is also associated with immolation.
  4. Rituals, associated with use of fire, when into pit, exclusive of ashes get the various things, possibly immolation oddments. Also one can be supposed, that in some rituals made use of anthropomorphous, zoomorphous clay figurines, double vessels. At thet all of these things demonstrate steady safety of sacraltradition during ages.

Ceremonies, which took from guarding of stable rituals, also set forward on extent almost one and a half to years thousand, and a settlements burning ceremony is typical for Trypillya culture at all, existed two milenniums. This not when speaking about that the sources of Trypillya ceremonies are found in old mediterranean civilizations.

T. Moss marks, that the frequently such ceremonies simplify from multi-repeated reiterations and under time flowing. Take for possible by namely such circumstances to account for reduction of phenomenon fixed attached to ceramics analysis of definited lines, which reproduced the magic symbols. Consequently, if for early and beginning middle Trypillya typical pear-shaped anthropomorphous vessels with prettily brightly said anthropomorphous properties, then on pottery of late stage they little loud, that is why anthropomorphous lines on them come forward in reduced appearance. That namely takes place and with bowls on anthropomorphous supports and anthropomorphous supports, and also vessels with anthropomorphous handles. A phenomenon This is it is possible to consider as simplification of separate ceremony elements, in which anthropomorphous pottery used.

Typical there is a list of magic materials and instruments, bu T.Moss directed.. Among them considerable part into Trypillya artifacts present. The Bowls - of Trypillya pottery are as bowl properly, bowls on supports, double and triple bowls on supports, etc. The Rings are the copper rings lustily thinly, but meet among finds. The Knives are a flint knife, for example, found by S.Gusev, on clay platform in Voroshylivka settlement house. Circles are by some measure to them can answer clay discs, the small loafs, etc., is found in Trypillya dwellings. Spindles are into Trypillya sppen-weels, on late stage with incised signs. Dangled - into Trypillya clanged, at that some from them birds figurines , and rattle from Luka-Vrublivets'ka little oviform form. Dolls are various anthropomorphous terracotta, which used in different rituals. Tables are from that articles of material culture, which were kept to our days, to them can answer into Trypillya pictograms on painted pottery. Bone are among Trypillya materials various wares those present from bone which it is possible to think ritual: amulets, ornamentirs, adorning from to boar fang, pins from bird bone, bull fingers phalanges with holes, pendants from fawn teeth, wolf, by the way, last artifacts appear as far back as paleolith, and their diffusion does not expire from by Trypillya disappearance. Arrows are in Trypillya dwellings prettily thinly find arrows, this fact used by V.Dergachov as one of arguments on self-interest of that into Trypillya was little to arm (Dergachev, 2000), on our thought, finds of separate numbers of flint arrowheads in Trypillya houses in context of all complex filling by various sacral things, bears witness to their magic sense in given case.

T. Moss underlines, that a costume choice for magic ceremonies is pronouncedly regulated. About participants costume of Trypillya ceremonies in sort can be judged on data the plastic arts and by anthropomorphous image. Head-dress is represented on several figurines, but still fragmentary. It is possible it reproduced a still one head on figurine, for stylistically image supposes such interpretation. In heads of some statuettes there are the cavities or punctures. It is possible head disk-shaped with punctures on edges. Trypillya clay figurines reproduce some ritual costume, but image so stylized, that there is not to purport something probably to affirm. Separate costume lines anthropomorphous figurines: the waistcoats, aprons, belts, costume of "Goddess with snakes" from Cryte reminded. Come into notice the red ribbons, to which bordered figurines are, painting of separate statuettes into white colour, painting red on white, for purple ribbons and white clothes remember t. Moss as ritual signs. T. Moss also brings out still one variant: the ceremony participants ought were naked. Will Foretell, that a namely such variant answers pressing majority Trypillya figurines, nudity of which is specially underlined.

Among various ceremonies types, as picks out t. Moss we can find accordance to two fining and down immolation. The clearance Ceremonies frequently materialized by passing over fire, a namely this factor omits the material traces and they wide-spread in artifacts Trypillya culture. On first, this is oddments of scorched houses, on second pits, in which find ashes, are burnt bones, separate burnt objects, on third finds of burnt man bone or animals in pits or among houses ruins, sometimes in vessels. A clearance Ceremony by fire can be by finishing part of immolation ceremony, when take place actions de-sacralization all, that was a party to ritual. The Immolations possibly materialized with immediate fire use. To This ceremony T.Moss devoted special research, to which we will appeal, that to set to accordance Trypillya artifacts of immolation act, to fixed in sacral texts and by ethnologists and by T. Moss thoroughly analysed .

Most brightly an immolation ceremony reflected into burning of settlements. Attached to archaeological exavations fixed the details of ritual settlements incineration. Possibly, from each house darted out an usual domestic utensils and by definitedimage placed ritual stock, as regulation pottery, which sometimes occupied almost all workplace space. Fixs grouping of different ceramics forms, ritual vessels, sacral things. Into Maydanets among ruins of some dwellings fixed the weaving makes up, which also entered to ritual to stock. Sometimes under ruins of separate houses find the vessels with animals bone, among which the human bone the human bone are, separate human bone, their regulations while not quite cleared up. Possibly in act of ceremony a house filled in by fuel by firewoods or reed, etc., and then each house all settlement set on fire was burnt down afire sacrificial, disappeared, perhaps with souls of his dead lodgers, to regenerate in sacral world.

T. Moss marks, that that in immolation is by sacrifice preparation, in magic frequently changes on composing part of ceremony, for which a magician makes image, in that number from clay, metal, that provides his gods images or demons, by dolls, that replaced a magic object, objects being in symbolic right. It produces the worn on the shoulder bandages, coulombs, talismans and amulets. To All this we find accordance among Trypillya artifacts. For example, anthropomorphous amulets of identical form are made from bone, shells, stone, or copper .

Among Trypillya anthropomorphous figurines, evidently, there are the different wares grades images of gods or spirits, which is allotted by defineted features, which are kept on ages extent; possibly, there are the statuettes, that replaced in magic ceremonies the magic objects; there is a big grade statuets, which used in ceremonies as immolation. By Objects, which are in symbolic right are saturated almost all of Trypillya complexes. One Can be supposed, that a concentration of that whether other sacral articles of agglomeration in one dwelling of a little double vessels (binoculars), or various sacral and votive objects by one group, is associated with various magic rituals in immolation ceremony.

Possibly, by amulets and talismans one can be thought the things, which had the holes and could use to coulombs, or to sew on on clothes. They can have lightly give voice to sacral offences, as, for example, boned plate in head appearance of bow with incised image of womans figure in ritual pose from Bilcha-Zolota. And can be absolutely simplified form as stone pendant from Bernashivka.

T. Moss picks out as special appearance of verbal invocation ceremonies. Think, that into Trypillya artifacts to this ceremony answer the various images, all of they, on our look, are associated from magic conjurations, but heavily comprehend to namely what was devoted these invocation. By Into first turn certificate conjurations one can be thought a ornamentation of Trypillya pottery. A ornamentation Analysis leads, that subjects admission and ornamentical compositions prettily limited and does not change, accords with steady tradition. As separate elements to circle pattern, ovals, rhombs, crosses, spirals, snakes, zoomorphous and anthropomorphous figures, so and figures, which form the static or dynamic ornamental endless compositions, swastika, cross, six or octagons is by symbolic magic signs. Sometimes these signs consist into definite systems and form the pictograms, which have the sacral magic maintenance and, on our thought are by invocation ceremony manifestation, which is directed on evocation of other-worldly forces, are one of methods to manage these forces.

Part of anthropomorphous vessels, to which we bear and away double vessels (binoculars), in appearance of human figures also allows to set a ritual pose and gestures. At that is observed definite poses accordance and gestures between all of images types. Most widespread upright straight figures, which meet in anthropomorphous the plastic arts, among anthropomorphous vessels and painting. Sometimes they have an object on head, holding it one (painted figures) or by two hands (bent in elbows painted figures and anthropomorphous supports.

Meet the images of elevated hands -"Oranta"- gesture both among statuettes and in anthropomorphous pottery. The Hands can be laid on breasts or formed on stomach ( to this gesture on S.M.Bibikov thought answer the figures images in which hands not modeled), such figures meet as drawn, so and widespread in the plastic arts. Documented images in painting and among figurines, when one hand is elevated to head (face), and friend bent in elbow disposed on waist or beneath to belt. A Special images grade in definited poses compose the group compositions from two or three figures. In Trypillya the plastic arts they in clean appearance are not fixed, but meet in painted variant and among anthropomorphous vessels. Sometimes painted figures of different size, one above other.

Anthropomorphous vessels, which reflect figure equal with combined hands this is the double vessels (binoculars) where anthropomorphous figures unite besides oneself by bridges, and also identical form . Still one type of anthropomorphous pottery, that reflects a support figures group or bowls pallets, which form circle from 4 7 figures, which hold bowl, which sometimes is colander .Fixed cases, for example into Beresti, when the figures consolidate into circle taking for hands by elevated hands bent in elbows. The Roumanian archaeologists think, that such wares reflect ritual dance and name by their "Dragomir organ-lofts" (, 1987, p.287-299). E.A.Korolyova marks, that ritual dance symbolic reproduces the magic signs circle, parallel bee-lines, labyrinth (meander), wavy line snake (Queen, 1977, .125-141). All of these figures are among Trypillya ornamental magic symbolism. She thinks, that the poses and gestures which reproduce in that number and Trypillya images, are by elements of ritual dances.

Among Trypillya figurines meet the images of seating figures womanish, masculine and androgynes. The Hands of womanish figures can be not modeled, formed on stomach, outspread forward, or hold child by left breast. Seating men figures and androgynes (lustily thinly such images are presented by whole informative samples) with outspread hands, or hands not modeled.

T. Moss set, that magic supposes an images combination, without what impossibly to imagine a magic ceremony, which is by images conglomerate: magician, ceremony, aim. an images (or signs) combination Idea is brightly reflected in Trypillya materials, which adapted in magic ceremonies. In terracotta images will team womenfolks offences and cow (bowide), womenfolks and serpents, it is possible womenfolks and birds. In anthropomorphous pottery are combined man offences and bovide, man (womenfolks) and serpents. On Trypillya vessels team up with cosmic, by moon symbols zoomorphous and anthropomorphous offences. .. installs blocking conformities to natural laws of simple signs, one of which there is combination of symbols, and accordingly and images.

Proceeding from magic laws, by T.Moss explored, one can be interpreted the Trypillya symbolic images. By Magic regulation "part equal to whole" account for anthropomorphous symbols of Trypillya pottery, and also combined symbols. Consequently, in ordered to hand down anthropomorphous image, not obligatorily will model a vessel in man figure form, sufficiently will place on it anthropomorphous symbol small conic handle, formed conic model with horizontal whether vertical puncture. That such handles are by anthropomorphous symbols, bear out identical stick on stomaches and knees womanish figurines. For recreation of Oranta image sufficiently will border a vessel by two stylized handles-appearances. Protuberant appearances pass on womanish image. Anthropomorphous offences can be voice to hands, by relief stylized figures, which already almost and do not remind of form human body, or simply by appearances on crowns edge. Zoomorphous offences reproduce on vessels by four legs, heads, sometimes bukranies, or by simply small appearances in that tracks, where is must be a tail and head.

To Accordingly magic sameness law, an image turns into symbol, at that for formation to symbol used only one of many typical for to article of properties. That's why interpretation of ornamental pattern in festoons appearance as clouds, thin lines as rain, lens-like ovals as corn, ornament as reflections of Big goddess, sky Mistresses and the liked can not perceive even as a hypothesis.

A Magic antithesis law supposes operating by oppositions. Possibly, by manifestation of this law can be thought a negatively-positive ornamental system, which frequently incident to Trypillya patterns.

Such as whole draws a concrete "picture of Trypillya magic", reflected in found artifacts.

Not looking at distinctions in material culture, well loud on archaeological material, sacral Trypillya (Trypillya Cucuteni) culture space was one from Carpathian Mountains to Dnipro. Beginnings of complicated of social structures, chiefdoms and proto-cities at the some chronological stage does not prang this unity. As and to that prevail snake images and month,, personifications of womanish Cortex goddesses, Big Cow Goddess. Only in Late-Trypillya cultural groups (some naturalists accept their as separate cultures) fixed new for Trypillya offences. Goes about womenfolks image, which seats tilted forward, which the famous Usatovo - type statuettes reproduce of type. This image, as it seems to us, has originating in Vinca culture and associated with funerary ritual, not inherent for Trypillya .

A prototypes circle Analysis and analogies magic artifacts, symbols, rituals, which accord with Trypillya culture, allowed to do the interesting supervisions. To begin with, the basic sacral ideas and Trypillya offences have the sources in most old european neolith, represented by Greec territory cultures, Karamovo -, Keresh, elder linearly- ceramics. Vinca Cultures, Karanovo V and VI, Gumelnitsa, Lengyel and Trypillya have any amount of joint lines in sacral sphere, possibly their magic and ritual practice and sacral offences behaved to one sacral tradition. Forming Trypillya sacral traditions took place on Trypillya -² stages, namely for this while falls down most part of analogies for Trypillya artifacts. A New stage in History of Trypillya culture is associated with transition to Trypillya ²-² stage, and specially B.

Begining from this period Trypillya society comes forward as a system from original sacral complex, magic practice without no longer suffers influences and innovations. Intensity in a intercultural contacts Trypillya on ²-²-Ѳ stages, fixed for other culture aspects, does not touch a sphere of sacral images and ceremonies. Foreighn population which got in some Trypillya local groups, at first not entirely all the sacral Trypillya traditions perceived.

This nicely visibly on example housing Ticks and Bug-Dnister type of Eastern Trypillya of culture. Into Klischiv S.Ryzhow set many components population storage from four Trypillya local groups, also by fifth component of population with Lengyel traditions was. Interestingly, that S.Ryzhow set, that a ceramics with definited peculiarities distributed into Klischiv between separate by dwellings groups, that indicates on some autonomy population groups with different sacral traditions.

Into Klischiv in ceremonies almost does not use a traditional Trypillya terracotta, at that some dwellings are saturated by double anthropomorphous vessels (by binoculars). A ceremonies Tradition without figurines, possibly by Klischiv lodgers group, which made in way of life use of pottery without decoration, to inherent Lengyel culture and from by deep-laid pattern, the sources of which were into early Trypillya, hands population down of country between Sout Bug and Dnipro, where also almost there is not anthropomorphous the plastic arts, but any amount of binoculars, that marks O.Tsvek for Shkarivka dwellings.

A Territorial group of Trypillya culture in Dnipro restored tradition of figurines application in ceremonies, makes use of double anthropomorphous vessels, holds on traditions of Trypillya A (!) into made sacral pottery, in ritual and domestic pottery clearly the done over again Lengyel lines trace.

Trypillya population into which prevailed a tradition of painted pottery creates a lustily developed sacral magic language denotation system. In offences and ceremonies, founded on traditions of joint sacral space of the Early Eneolithic, traces a steady tradition without any borrowing to the last and bronze day beginning.

At that, as shown above, some sacral elements together with Trypillya culture outlived the cultures, from which they were adopted by Trypillya. By II stage beginning we have large cultural differentiation of Trypillya community, which does not reflect in sacral sphere, it remained one for majority of the Late-Trypillya groups, except Usatove and Sofiyivka.

Into this period practically all of continental cultures lose considerable part of achievements of previous times in external legalization of sacralsphere become poor or disappeared the plastic arts, degrades a decor of ceramic wares. However pawned into Neolithic and Eneolithic periods on different magic base continent cultures composed a base of joint European tradition in this sphere

In final part I stopped for Magics and Trypillya -Cucuteni culture population Religions. Namely in such combination these notions existed into distant times. Magic in Trypillya people hands was used for sacral Forces management. With them old associated and attempted by them to govern, taking the definited rituals with use of file magic artifacts. Last famous to us due to archaeological excavations.

In many aspects the results of our research bear out basic to . deduction about existence in Trypillya culture of sacral-magic pictography, by bright expression of which is is painted a pottery. Establishment of his context with other categories artifacts to let into future more brim-full to reconstruct sacral Trypillya sphere and different aspects of ritually-magic practice.

Our labour on once was limited by Ukraine territory, in that time, as archaeological Trypillya - Cucuteni complexes, extraordinarily interesting important artifacts saturated widely explored in Moldova and Romania. Our labour in Kishiniv museums inspired on idea of international project on study of spiritual world of this old civilization. A Comparative analysis Trypillya artifacts bears witness also to their wide european context, further inquiring into which also is prettily interesting. In result execution of its project I came to realization of that essential displacement in study of spiritual world of old Europe civilizations necessary international archaeologists efforts and other naturalists such work hardly whether on force to separate specialists.