What period is characterized by the image of a woman Paleolithic Venus. Paleolithic "Venus

"(Found in 2008 and dates back to at least 35 thousand years ago); And later, belonging to Madelenian culture.

These figures are cut from bones, tested and soft rock rocks (such as steatitis, calcite, mergel or limestone). There are also figurines flattened from clay and prone to burn, which is one of the most ancient examples of the well-known science of ceramics. In general, by the beginning of the XXI century, more than a hundred "Venus" were known, most of which are relatively small - from 4 to 25 cm in height.

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✪ Nude Woman (Venus Villendorfskaya)

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People like certain answers. We really want to understand what we see. Especially - art historians. People create different things. We like to create art. One of the most ancient art objects is a small female figure. Sometimes it is called just a nude woman. The whole world knows her as Venus Villandorf. And although this name does not make any sense, it talks a lot about the prism, through which our culture looks. She was found in 1908 in the Austrian village Villendorf and gave her the name of Venus. Its height is about 11 centimeters. It was created approximately 25 thousand years ago. She is truly ancient. It is kept in the Vienna Museum of Natural Science, where we are now, in a dark glass cabinet, illuminated from above. Externally, the repository is similar to the Greek Temple. On it is written "Venus Villendorfskaya". There is also one button here. In the scientific museum there are always many children who love to press the buttons. When they do it, the white light, illuminating the figure from above, is replaced by red, and a quiet melody of flute sounds. Of course, we have no idea that those people could listen for music. It's just an attempt to fill all the gaps. We do not know anything about it. We do not know who did it and why. All we have - this figure is out of every context. To a greater extent, this is an anthropological object than the work of art. By calling it Venus in honor of the ancient Greek goddess of love - Venus, we attributed to it a certain meaning. We believe that this is a figure of a goddess that is associated with childbearing and fertility. We do not know, the truth is or not. It seems to me that we have a little more information, as this is just one of the found women's figures of that era. More precisely, the end of the glacial period. This is one of the most first sculptures depicting a person's figure. It is curious that almost all the figures found female. Rather, all the figures found still found are images of women. Nude. But they differ from each other. Some have more complete breasts and buttocks. Maybe someday historians of art and archaeologists will find men's figures. These are all guesses. And all that we can take a look - the figure itself. Let's look at it. She has no feet and very thin hands, which she folded high on her chest. She has no damn face. This is a repeating feature of almost all the figures found of this period. Hair worked carefully. Or, perhaps, on her head cap. There is an assumption that this is a cane cap. Oh, that's music, and red light. Yes, the little girl just pressed the button. Hands are barely visible, but you can distinguish your fingers. Archaeologists, who carefully studied the figure, suggested that increased abdomen, chest and head are bulges that are due to the natural shape of the stone. Sculpture is made of limestone. It is symmetrical. And, definitely, is not something that should have stand straight. As you mentioned, she has no stop. The figure will easily fit in the palm of palm. There is a feeling that she was supposed to hold in his hand. Or carry in your pocket, or something like that. Yes, it easily fits in his hand. We know that it was originally painted ocher - a red dye. In addition, it is difficult to say something else. And so we will continue to admire it. And art historians will continue to search for answers. And in some way, I am sure, we will always fall into the trap of the desire to express our interests and needs, trying to understand this work of art. I'm not sure that we will understand it to the end or restore its original values. Perhaps it is. Subtitles by The Amara.org Community

History opening

The first statuettes of the era of the Upper Paleolithic with the image of women were discovered around 1864 by Marquis de Vibray (Marquis de Vibraye) in the Genuine Bass (Dordogne Department) in the south-west of France. Viber called his find "Venus Slutnaya" (Vénus Impudique), contrasting it, thus, "Venus modest" (Venus Pudica) of an Hellenistic sample, one example of which is the famous "Venus Medica". The statuette of the plane-bass refers to Madelene culture. She has no head, hands and legs, but a clear incision is made, depicting a vaginal hole. Another discovered and recognized copy of such figures was "Venus Brassempuyskaya", found by Edward Piette (édouard Piette) in 1894 in the cave dwelling in the territory of the town in France. Initially, the term "Venus" was not applied to it. Four years later, Salomon Reinach (Salomon Reinach) published a description of the whole group of static statuettes from Balzi Rossi caves (Balzi Rossi). The famous "Venus Villendorfskaya" was found during the excavations in 1908 in the deposits of the Log in the valley of the Danube River, Austria. Since then, hundreds of similar figurines have been found in the territory from Pyrenees to Siberia. Scientists of the early 20th century, studying primitive societies, considered them the embodiment of the prehistoric ideal of beauty and, therefore, gave them a common name in honor of the Roman goddess of the beauty of Venus.

In September 2008, archaeologists from the University of Tubingen found a 6-centimeter statuette of a woman made from the Mammont's Talnia - Venus from Welsh, dating from at least 35 thousand to n. e. It is currently the most ancient specimen of sculptures of this kind and figurative art in general (the origin of a much more ancient statuette of Venus from Tan-Tana is controversial, although it is estimated at 300-500 thousand years). The carved figure was found in 6 fragments in the Cave of Welsh, Germany, and is a typical Paleolithic "Venus" with an emphasized abdomen, widely placed hips and large breasts.

Description

Most statuettes of Paleolithic Venus have common artistic characteristics. The most common diamond figures, narrowed up (head) and below (legs), and wide in the middle (belly and hodges). Some of them are noticeably underlined certain anatomical features of the human body: stomach, hidden, buttocks, chest, vulva. Other parts of the body, on the contrary, are often neglecting or not at all, especially hands and legs. Heads are also usually relatively small and deprived of parts.

In this regard, disputes arose regarding the legitimacy of the use of the term steatopygia, as applied to the "Paleolithic Venus". This issue was first raised by Edward Piette (édouard Piette), who discovered "Venus Brassempuy" and some other copies in the Pyrenees. Part of the researchers consider these characteristics as real physiological features similar to those observed among representatives of the Koisan peoples of South Africa. Other researchers challenge this point of view and explain them as a symbol of fertility and abundance. It should be noted that not all Paleolithic Venus is fat and have exaggerated feminine features. Also, not all figures are devoid of facial traits. Nevertheless, the appearance of figurines, similar to each other in style and for certain proportions, allows us to talk about the formation of a single artistic canon: the chest and hips fit into the circle, and the whole image is in the rhombus.

Venus Villendorfskaya and Venus Losselskaya were apparently covered with red okra. The value of this is not fully understood, but usually the use of ocher is associated with religious or ritual action - possibly symbolizing blood when menstruation or birth of a child.

All recognized by the majority "Paleolithic Venus" belong to the Upper Paleolithic (mainly to the Grevel and Solturyan cultures). At this time, statuettes with fat figures prevail. In the Madelena culture of the form become graceful and with greater working out of details.

Remarkable samples

name	age (thousand years)	place Nakhodka	material
Venus from Welsh	35-40	Swabian Alb, Germany	test Mammoth
Homolev	32	Swabian Alb, Germany	test Mammoth
Westonitskaya Venus	27-31	Moravia	ceramics
Venus Villendorfskaya	24-26	Austria	limestone
Venus from Lespug	23	Aquitaine, France	ivory
Venus Maltaskaya	23	Irkutsk region, Russia	test Mammoth
Venus Brassempuyskaya	22	Aquitaine, France	ivory
Venus Kostenkovskaya	21-23	Voronezh region, Russia	bevel Mammoth, Limestone, Mergel
Venus Losselskaya	20	Dordogne, France	limestone

Venus, the artificial origin of which has not been proven

name	age (thousand years)	place Nakhodka	material
Venus from Tan-Tana	300-500	Morocco	quartzite
Venus from Buret Rama	230	Golan heights	tuf

Classification

Of several attempts to create a classification of the statuette of the upper Paleolithic, the least controversial is the proposed Henry Delport (Henri Delporte) based on a purely geographical principle. It distinguishes:

Interpretation

Many attempts to understand and interpret the value and the use of figurines are based on a small number of facts. As in the case of other prehistoric artifacts, their cultural significance may never become famous. Nevertheless, archaeologists suggest that they could be talismans that protect and bring good luck, fertility symbols, pornographic images, or even directly correlated with her goddess or other local deities. Women's figurines, which are examples of the portable art of the late Paleolithic, apparently did not have any practical application for existence. For the most part, they found at the places of ancient settlements, both on open parking and caves. Their use in burials is much less common.

At the parking lot of the Late Paleolithic Epoch. Gagarino in the Lipetsk region, in an oval twilight diameter of about 5 meters, 7 figures of nude women were found, which, as believed, was performed by the role of amulets-obers. At the parking lot with. Malta in Baikalia, all figures were found on the left part of the dwellings. Most likely, these figurines did not hide, but, on the contrary, they were put on a prominent place, where everyone could see them (this is one of the factors that can be explained by their wide geographical distribution)

The noticeable obesity of the figurines can be associated with the cult of fertility. In times, preceding the emergence of agriculture and cattle breeding, and in a situation of lack of access to abundant food reserves, overweight could symbolize the desire for abundance, fertility and safety. Nevertheless, these theories are not scientifically indisputable fact and only the result of the speculative conclusions of scientists.

Another circle of upper-paralyolithic finds, which beyond the limits of this ordinary premium life, are numerous figures, reliefs and female drawings. Of course, this plot was first interpreted quite materially, as a manifestation of the erotic inclinations of an ancient person. But, you need to confess, eroticism in most of these images is a bit.

Figures of Paleolithic "Venus", relating to the most part to the Orignak and in Madelene the disappearing, show that interest in a woman thirty thousand years ago very different from the current one. The face, hands and legs have been worked out in these figures very weak. Sometimes the whole head consists of one magnificent hairstyle, but that's all relevant to the birth and feeding of the child - all this is not just carefully spelled out, but it seems exaggerated. Huge ass, thieves, pregnant belly, born breasts.

Paleolithic Venus is not a graceful creation, a captive imagination of a modern man, and not blooming femininity of Louvra Aphrodite, but a multi-virgin mother. These are the most famous "Venus" from Villandorf (Austria), Mentons (Italian Riviera), Lespju (France). This is the noteworthy relief from Loucel (France), on which a woman standing in the FAS holds a massive horn in his elbow, very resembling abundance horns, but most likely it is a sign of the presence of God-bison.

And not that the Paleolithic artist simply did not know or did not want to depict female beauty. On several monuments we can see that in principle it was perfectly done - an ivory head (Brassempuy), relief in the cave of Ma Madeleine, opened in 1952. But the figures and images "Venus" were by no means aimed at glorifying the perfection of female beauty.

Finds made in Ukraine K. Polikarpovich clarify the meaning of strange statuettes. In the sanctuary on the gum except the skulls and the beer of the Mammoth, except for the revunov, they also found a women's figure from ivory type "Venus". She used to be attached to something and was part of the funeral sanctuary.

Most likely, these "Venus" were images of the Mother Earth, pregnant dead, who should still be born again to eternal life. Perhaps the essence that was portrayed, was originating himself at its length from the ancestors to the descendants, the Great Mother, which always produces life.

In Ukraine, in Gagarin, seven such figures were located on the walls of the naval of Madlents. They stood in special niches. This was definitely an object of worship. For the keeper of the genus, individual "personal" signs are not important. She is always a pregnant life of the womb, eternally nursing with his milk mother. It is unlikely that the thinking of the ancients rose to the high abstractions, but Kohl buried their dead in the ground, it would be believed in their resurrection, and if they believed, they could not worship the mother-earth, giving, life and revival.

The hopes of Cryanonians were not limited to the earth, they sulfurly sought to the Heavenly God-beast, the assistant rider of life. But from the experience of everyday life, they knew perfectly well that the seed of life should find that soil in which only can germinate. The seed of life gave the sky, the soil - the Earth. The worship of mother-land, so natural among agricultural peoples, actually turns out to be ancient farming, since the purpose of worship was for an ancient person not the earthly harvest, but the life of the future century.

Mircea Eliad is very mistaken, when in the introduction to the "sacred and worldly" states: "After all, it is obvious that the symbolism and cults of the Mother Earth, the fertility of a person, ... a woman's priesthood, etc. Could develop and draw up a widely extensive religious system only Thanks to the opening of agriculture. It is just as obvious that the Daegrarian Society of Broad-Nomadov was also not able to feel deeply and with the same force to experience the sacredness of the Mother Earth.

The difference in experience is the result of economic, social and cultural differences, in one word - stories. "

"Obvious" is not true, it was better than others had to know religious. The cults of the Mother Earth hunters of the Upper Paleolithic make us assume that the religious is not always a product of social and economic, but sometimes it is the cause and prerequisite.

For a better understanding of all the ambiguity of the causes and consequences in human culture, the figure "Venger" from Dolny Westonice is particularly interesting.

Westonitsky "Venus" are made of clay and burned. This is almost the first in the history of mankind samples of terracotta (25,500 years ago). An ancient mystic must have tried in the material itself to capture the great idea of \u200b\u200bthe Earth connecting with the heavenly fire to take care of heavenly seed. There may be a shock of lightning, which melted the soil, brought it into these images. From household ceramics appearing in the early Neolithic, these clay statuettes of the Earth are specially burned on fire, they separate at least twelve millennium.

It is very characteristic and found in the late 1950s under the carport of the rock shelter Angles-sur-L "Anglin, Vienne, France) of the Madelene time scene. Three women with clearly underlined signs of their sex, stand near each other. One thing - with narrow girls even thighs, the other is pregnant, the third is old, flashed. The first is on the back of the bison, the raised tail and the inclined head of which show that it is depicted in the excitation of Gon.

Does this relief displays the rhythm of life and does it do not emphasize that it was not an accident for Crianoonian, but the divine gift, the Seed of God, which should be properly disposed of, in order to gain eternity? And maybe this is the first one of the long-line images of the Great Goddess in three of her images - an innocent girl, mother and old women, images - so characteristic for later humanity? Death, leading to life in this case is not a complete disappearance, but only by the stage of being, followed by a new conception of the Divine Semyon, a new birth.

Four years ago, I visited Hermitage and there in some distant zakulkers photographed ( the photo does not lay out it turned out not very good) One of the "Paleolithic Venger" is one of the most ancient products of the person found by archaeologists, the average dating of any of them ( they are now found hundreds of copies) 20 thousand years BC Think about this figure, one such statuette contains all human civilization, all the achievements of which achieved humanity can easily fit into the age of one such statuette ..

Venus Brassempuyskaya
This is the second "Venus" account of all at the moment. Detected in France in 1894 near the village of Brassempuy. Made of ivory, dated to the interval of 26,000-24,000 BC It is considered one of the earliest realistic images of a human face.


As you understand this, only a part of the whole figure that alas is not preserved, the head with the neck is 3.65 cm long.

Reconstruction of a possible appearance. That is interpreted on the head and as a schematic image of hair or as a reconstruction, they consider a certain hood, the second name of this figure "Lady with a hood"

An even more unique figure is Homolev.

The statue is considered one of the most ancient known sculptures in the world and the most ancient zoomorphic sculpture. Statuette dates back to 32,000 years BC! Made from the Mammoth's timenta, height 29.6 cm. On the left hand there are seven parallel, horizontal lines.
The presence of a similar figure at that time says exactly about two things: this is a figurine of some kind of deity, which already had some religious views, anthropologists comparing dimensions and scales rejected the version that this is a man in a lion skull, i.e. shaman. And the second, let's say, the presence of abstract thinking and imagination is recognized as modern scientists in a person of that time only theoretically, there is a point of view that all famous Paleolithic Venus was made from nature, that is, that the artist saw, then Lepil ..
Interesting fact-in South India still exists a worship of Narasimha, manulv.

There is still such a Venus, she is interested in what in his hand holds what the horn of Bizon believes.

Venus Losselskaya. The figure is a bas-relief made in limestone. Dating from 25,000 years BC The figure is notable for the horn itself, it has thirteen suns-13 lunar months in the year. The specialists in prehistoric religion also consider that this horn later became known as a horn of abundance ( i consider the lucky and drawn behind the ears, although there are many later images of the goddesses with different objects in hand, including horn).

And finally, a very recent find.

Venus from Welsh
Received it in 2008 near Shelclingen, Germany. By the way, in the same area as a man and man.
At the moment, the statuette is an oldest recognized (there are two much earlier "Venus", but the features in general are schematically schematically) by the work of the art of the upper Paleolithic and prehistoric figurative art. Refers by the time the Crohanyonians only began relocation to Europe. Host from the Woolly Mammont Test, height is 6 cm, at the head of the head - a hole, giving the right to conclude that the statuette was used as a pendant.

A slight refinement about "that the artist saw that I looked" in a scientific environment there is a long-time researchers in the scientific environment considers the adhesive anatomical features of the human body: belly, hidden, buttocks, chest, vulva, as real physiological features like those who are observed from representatives Koisan peoples (Bushmen and Gottentotes) of South Africa.


Other researchers challenge this point of view and explain their underscore as a symbol of fertility and abundance.
By the way, not all Paleolithic Venus obese and have exaggerated women's features. Also, not all figures are devoid of facial traits.

Or limestone). There are also figurines flattened from clay and prone to burn, which is one of the most ancient examples of the well-known science of ceramics. In general, by the beginning of the XXI century, more than a hundred "Venus" were known, most of which are relatively small - from 4 to 25 cm in height.

History opening

The first statuettes of the era of the Upper Paleolithic with the image of women were discovered around 1864 by Marquis de Vibray (Marquis de Vibraye) in the Genuine Bass (Dordogne Department) in the south-west of France. Viber called his find "Venus Slutnaya" (Vénus Impudique), contrasting it, thus, "Venus modest" (Venus Pudica) of an Hellenistic sample, one example of which is the famous "Venus Medica". The statuette of the plane-bass refers to Madelene culture. She has no head, hands and legs, but a clear incision is made, depicting a vaginal hole. Another discovered and recognized copy of such figures was "Venus Brassempuyskaya", found by Edward Piette (édouard Piette) in 1894 in the cave dwelling in the territory of the town in France. Initially, the term "Venus" was not applied to it. Four years later, Salomon Reinach (Salomon Reinach) published a description of the whole group of static statuettes from Balzi Rossi caves (Balzi Rossi). The famous "Venus Villendorfskaya" was found during the excavations in 1908 in the deposits of the Log in the valley of the Danube River, Austria. Since then, hundreds of similar figurines have been found in the territory from Pyrenees to Siberia. Scientists of the early 20th century, studying primitive societies, considered them the embodiment of the prehistoric ideal of beauty and, therefore, gave them a common name in honor of the Roman goddess of the beauty of Venus.

In September 2008, archaeologists from the University of Tubingen found a 6-centimeter statuette of a woman made from the Mammont's Talnia - Venus from Welsh, dating from at least 35 thousand to n. e. It is currently the most ancient specimen of sculptures of this kind and figurative art in general (the origin of a much more ancient statuette of Venus from Tan-Tana is controversial, although it is estimated at 300-500 thousand years). The carved figure was found in 6 fragments in the Cave of Welsh, Germany, and is a typical Paleolithic "Venus" with an emphasized abdomen, widely placed hips and large breasts.

Description

Most statuettes of Paleolithic Venus have common artistic characteristics. The most common diamond figures, narrowed up (head) and below (legs), and wide in the middle (belly and hodges). Some of them are noticeably underlined certain anatomical features of the human body: stomach, hidden, buttocks, chest, vulva. Other parts of the body, on the contrary, are often neglecting or not at all, especially hands and legs. Heads are also usually relatively small and deprived of parts.

In this regard, disputes arose regarding the legitimacy of the use of the term steatopygia, as applied to the "Paleolithic Venus". This issue was first raised by Edward Piette (édouard Piette), who discovered "Venus Brassempuy" and some other copies in the Pyrenees. Part of the researchers consider these characteristics as real physiological features similar to those observed among representatives of the Koisan peoples of South Africa. Other researchers challenge this point of view and explain them as a symbol of fertility and abundance. It should be noted that not all Paleolithic Venus is fat and have exaggerated feminine features. Also, not all figures are devoid of facial traits. Nevertheless, the appearance of figurines, similar to each other in style and for certain proportions, allows us to talk about the formation of a single artistic canon: the chest and hips fit into the circle, and the whole image is in the rhombus.

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An excerpt characterizing Paleolithic Venus

Kutuzov, whom he caught up yet in Poland, accepted him very affectionately, promised him not to forget him, distinguished from other adjutants, took him to Vienna and gave more serious instructions. From Vienna Kutuzov wrote his old comrade, the father of Prince Andrei:
"Your son," he wrote, "the hope of being to be an officer, out of a number of leaving for his classes, hardness and execution. I consider myself happy, having under the hand of such a subordinate. "
In the headquarters of Kutuzov, between comrades colleagues and in general, Prince Andrew, as well as in St. Petersburg society, had two completely opposite reputation.
Some, a smaller part, recognized the prince of Andrei with something special from themselves and from all other people, expected great success from him, listened to him, admired them and imitated him; And with these people, Prince Andrei was simple and pleasant. Others, most, did not love Prince Andrew, considered him an inflated, cold and unpleasant person. But with these people, Prince Andrei knew how to put himself so that he was respected and even afraid.
Going to the reception from the Cutuzov's office, Prince Andrei with papers approached his friend, duty adjutant Kozlovsky, who was sitting at the window with a book.
- Well, what, prince? - asked Kozlovsky.
- It is ordered to draw up a note, why neudum forward.
- And why?
Prince Andrey shrugged.
- No news from poppy? - asked Kozlovsky.
- Not.
- If it would be true that he was broken, it would have come to the news.
- Probably - said Prince Andrei and headed for the day off; But at the same time, to meet him, slamming the door, quickly entered the receptionive high, obviously visits, the Austrian general in Surtuk, with a black headscarf head and with the Order of Mary Teresia on her neck. Prince Andrei stopped.
- General Annef Kutuzov? - Quickly said the arrivals, General with a sharp German reprimand, looking back on both sides and without stopping passing to the cabinet door.
"General Ansef is busy," said Kozlovsky, hastily approaching the unknown general and sunbathing his way from the door. - How do you order to report?
An unknown general contemptively looked down from top to bottom at the lowest growth of Kozlovsky, as if wondering that he could not know him.
"General Annef is busy," Kozlovsky repeated calmly.
The face of the general frowned, his lips jerked and trembled. He took out a notebook, quickly drawing something with a pencil, snatched a piece of leaf, gave, quick steps came up to the window, threw his body to the chair and looked like the former in the room, as if asked: why do they look at him? Then the general raised his head, pulled the neck, as if intending to say something, but immediately, as if he was careless, he had a strange sound, which was immediately prevented. The cabinet door turned away, and Kutuzov seemed on the threshold. The general with a tied head, as if running away from the danger, hitting, large, the rapid steps of thin legs approached Kutuzov.
- Vous Voyez Le Malheureux Mack, [You see the unfortunate poppy.] - he touched his voice.
The face of Kutuzov, who stood in the door of the Cabinet, a few moments remained completely motionless. Then, like a wave, a wrinkle sang on his face, the forehead was smoothed; He talked to the head respectfully, closed his eyes, silently missed his poppy and helped the door for himself.
The rumor, already common before the breakdown of the Austrians and the surrender of the entire army under Ulm, was fair. In half an hour, the adjutants with orders, arguing that the Russian troops were soon sent out, which was still inactive, who were still inaction, will have to meet with the enemy.
Prince Andrei was one of those rare officers in the headquarters, which believed his main interest in the general course of war. Having seen Poppy and hearing details of his death, he realized that half the campaign was lost, I understood the difficulty of the position of the Russian troops and vividly imagined what he would expect an army, and the role he would have to play in her.
Involuntarily, he was experiencing an exciting joyful feeling at the thought of the admission of arrogant Austria and that in a week, maybe he will have to see him and take part in the collision of Russians with the French, for the first time after Suvorov.
But he was afraid of the genius of Bonaparte, who could be the strongest of the entire courtyard of Russian troops, and at the same time could not allow a shame for his hero.
Excited and annoyed by these thoughts, Prince Andrei went to his room to write his father to whom he wrote every day. He came down in the corridor with his cohabitant Nesvitsky and Jerkov's joker; They, as always, were laughing.
- What are you so gloomy? - Nesvitsky asked, noticing the face of Prince Andrew's brilliant eyes.
"There is nothing to have fun," Bolkonsky answered.
While Prince Andrei fell asleep with Nesvitsky and Zherkov, on the other hand the corridor was going on with a penny, the Austrian General, who consisted of Kutuzov's headquarters to observe the food of the Russian army, and a member of the corrugation, who came on the eve. On a wide corridor, there was enough space that the generals could freely disperse with three officers; But the stump, repulcing the hand of Nesvitsky, said the worried voice:
- Go! ... go! ... will be down, the road! Please do!
The generals passed with the type of desire to get rid of driving honors. A suddenly stupid smile of joy, which he as if he could not keep suddenly on the face of Jerkova.
"Your Excellency," he said in German, putting forward and referring to the Austrian General. - I have the honor to congratulate.
He tilted his head and embarrassing, as children who learn to dance, began to darken the one, then the other foot.
General, a member of the Gofcrigsrat, strictly looked at him; Without noticing the seriousness of a stupid smile, could not refuse a minute attention. He squinted, showing what he listens.
"I have the honor to congratulate, the general poppy came, completely healthy, only a little bit here," he added, shining a smile and pointing to his head.
The general frowned, turned away and went on.
- GOTT, WIE NAIV! [My God, as it is simple!] - He said angrily, walking out a few steps.
Nesvitsky and laughter hugged Prince Andrew, but Bolkonsky, even more pale, with an evil expression in his face, pushed him out and turned to Zherekov. That nervous irritation, in which he led to the view of Mac, news about his defeat and thought about what the Russian army expects, there was an outcome in the angry on an inappropriate joke of Zherkov.
"If you, the gracious sovereign," he spoke piercingly with a light shake of the lower jaw, "you want to be a joke, I can't prevent you about it; But I declare you that if you dare to be crushed in my presence another time, then I will teach you how to behave.
Nesvitsky and Zherkov were so surprised by this leating, that silently, the opening of the eye, looked at Bolkonsky.
"Well, I congratulated only," said Zherekov.
- I'm not joking with you, please keep quiet! - Blocky shouted and, taking Nesvitsky's hand, went away from Gherkov, who did not find what to answer.
"Well, that you, brother," Nesvitsky said calming down.
- Like what? - said Prince Andrei, stopping from excitement. - Yes, you understand that we, or officers who serve our king and the Fatherland and rejoice in shared success and pepper about the overall failure, or we are a lackey, which are no case to the Lord. Quarante Milles Hommes Massacres et L "Ario Mee De Nos Allies Detruite, Et Vous Trouvez La Le Mot Pour Rire," he said, as if this french phrase fastens his opinion. - C "EST Bien Pour Un Garcon de Rien, Comme Cet Individu , Dont Vous Avez Fait Un Ami, Mais Pas Pour Vous, Pas Pour Vous. [Forty thousand people died and the Allied Army was destroyed, and you can joke at it. This is an excreted insignificant boy, like this gentleman, whom you have made a friend, but not you, not you.] The boys can only be mistaken, "said Prince Andrei in Russian, pronouncing this word with a French accent, noting that the jersee could still hear it.
He waited, would not answer what he was cornered. But Kornet turned and left the corridor.

The Gusar Pavlograd Regiment stood two miles from Brownau. A squadron in which Nikolai Rostov served by the Junker was located in the German village of Zalzec. The squadron commander, Rotmist Denisov, a well-known entire cavalry division under the name of Vaska Denisov, was allocated the best apartment in the village. Junker Rostov since he caught up with the regiment in Poland, lived with a squadron commander.
October 11, on the very day when in the main apartment everything was raised to the legs of the news about the defeat of Poppy, at the squadron headquarters, hiking life was calmly in the old. Denisov, who lost all night in the card, did not come home yet when Rostov, early in the morning, rolling, returned from foraging. Rostov in the Junker Mundir drove up to the porch, Toronow horse, flexible, threw the leg, stood on austhehead, as if not wanting to part with a horse, finally jumped and shouted wizard.
"A, Bondarenko, a heart-friendly friend," he said to rushing up to Husaru to his horse. - Withdraw, my friend, "he said to the bridal, fun tenderness, with whom they treat all the good young people when they are happy.
- I listen, your bencestry, - the church answered, shaking the fun head.
- Looking, withdraw good!
Another hussar rushed to the horse, but Bondarenko has already thrown the reins of Trenzel. It was seen that the junker gave well to vodka, and that he was beneficial to service. Rostov stroked the horse around the neck, then he stopped on the porch.
"Nice! Such will be a horse! " He said himself and, smiling and holding a saber, ran into the porch, pouring his spurs. The owner of the German, in a swelling and cap, with the forks that he cleaned the manure looked out of the barn. The face of the German suddenly enlightened as soon as he saw Rostov. He smiled cheerfully and winked: "Schon, Gut Morgen! Schon, Gut Morgen! " [Fine, good in the morning!] He repeated, apparently, finding pleasure in greeting a young man.
- Schon Fleissig! [Over the work!] - Rostov said everything with the same joyful, briefly smile, which did not go from his busy face. - Hoch Oestreicher! HOCH RUSSEN! Kaiser Alexander Hoch! [Hurray Austrians! Hurray Russian! Emperor Alexander Hursa!] - He turned to the German, repeating the words, who often spent the Nemen by the host.
The German laughed, came out completely out of the door of the barn, drowned
Cap and, waving them above his head, shouted:
- Und Die Ganze Welt Hoch! [And the whole light Hurray!]
Rostov himself just like a German, waved a cap over his head and, laughing, shouted: "Und Vivat Die Ganze Welt"! Although there was no reason for a special joy for a German who cleaned his barn, nor for Rostov, who rushed with a platoon behind Saint, both people with a happy delight and brunch love looked at each other, shook their heads as a sign of mutual love and smiling diverged - German in a barn, and Rostov to the Exchange, which he held with Denisov.
- What is Barin? He asked the lavelice, known to the whole regiment of Pluta Lakee Denisov.

Paleolithic Venus, List:
Paleolithic Venus is a generalizing concept for a variety of prehistoric statuettes of women with general features (many are depicted by fat or pregnant), dating from the upper paleolyte. Figurines are found mainly in Europe, but the area of \u200b\u200bfinds extends far east up to the parking lot of Malta in the Irkutsk region, that is, to most of the Eurasia: from Pyrenees to Lake Baikal.

1. Venus from Buret-Rama is a stone found in archaeological excavations at the Golan altitudes in 1981. It is an anthropomorphic stone from rocks Tuf, 35 mm in length, on which at least 3 cuts are made, possibly engraved with a pointed stone. The object was revealed by an archaeologist from the Jewish University in Jerusalem N. Goren-Inbar (N. Goren-Inbar). She claims that this is nothing but a statuette - an artifact made by the representative of the type Homo Erectus (Ashhelsk culture of the beginning of the middle Paleolithic, approximately 230 thousand years ago).

2. Venus Brassempuyskaya - or "lady with a hood" - the first detection time "Paleolithic Venus". It is a fragment of the elephantial elephant elephant, discovered near the French Brassempui village in 1892. It is considered to be the work of an enliete culture (about 22 thousand years ago). This is one of the most early relatively realistic images of a human face.

3. Westonitskaya Venus - Paleolithic Venus, found in Dolny Westonice in Moravia on July 13, 1925 and is currently exhibited in the Moravian Museum of the city of Brno, Czech Republic. It is an ancient famous science by a ceramic statuette. Statuette height - 111 mm, width - 43 mm. It belongs to the gravestite culture and dates from different - between 29,000 and 25,000. BC e. With a tomographic study on the statuette, an ancient fingerprint of a children's hand was found left in front of the firing.

4. Venus Willendorfskaya - a small statuette of a female figure, found in one of the ancient burials of the engraft culture near the town of Villendorf in Wahau, the village of the Commune of Agsbach, in Austria by Archaeological Joseph Szombati on August 7, 1908. Together with Galgenberg Venus, the Vienna Museum of Natural Science is exhibited. A statuette of a height of 11 cm is cut out of oolithic limestone, which is not found in this area (which indicates the movements of the ancient peoples) and tinted with a red ocher. According to the latest data (2015), the age of figurines has 29,500 years. Almost nothing knows about the place or the method of manufacturing, or the cultural purpose of this statuette.

The figure of the woman is made in an interesting style. Its chest, stomach and honeycomb are made in a hypertrophied manner. Clearly pronounced lines emphasize the navel, genitals and hands, isolated on breasts. A well-carved hair or headdress is visible on the head; The features of the face are completely absent.
According to other researchers, the figure may have been an idol of fertility and possibly used vaginally as a symbol designed to increase confusion. This is said to be clearly pronounced breasts and genitals, the lack of feet feet (the statuette should not stand according to the author's plan). The length of the hands was needed for better immersion in the process.

5. Venus Galgenbergskaya - "Paleolithic Venus" of Orignak culture about 30 thousand years old. Discovered in 1988 by the city of Stratzing in Austria, where Venus Valelanddorf was discovered nearby. The height of the "dancing" figurine is 7.2 cm, the mass of 10 g. It is made of green serpentine. It is exhibited in the Vienna Museum of Natural Science.

6. Venus from Gonnexdorf - Paleolithic Venus of about 11.5 - 15 thousand years old, found in the second half of the 20th century in Gonnexdorf, District of the city of Neuvid (land Rhineland-Palatinate, Germany), during the excavations under the leadership of Gerhard Bozinski. Figurines belong to Madelena culture and reflect the main trends in the image of a female figure characteristic of that era: minimalism, abstract, absence of head and legs, underlined forms of buttocks. Their closest counterparts are copies of Andernach, Nera, and Olcnitz, which allows you to talk about a separate "Gonnexdorf type" Paleolithic Venger. In addition, in this parking lot, slate plates were discovered with drawings of female bodies profiles, which in shape are similar to figurines.
A total of 16 Gonnexdorf Venus were found, the material for the manufacture of which served the bones of animals, the wave of Mammoth, a deer horn, as well as local slate rocks

7. Kostenkovsky Venus is the conditional name of the ten Paleolithic statuettes of women found in Kostenkovsky parking in the Voronezh region. Similar figurines are also found on the Avdeevsky parking lot in the Kursk region. Approximately 23-21 thousand years ago were created by carriers of Kostenkovsko-Avdeevsky culture. Stored in the State Hermitage.
In general, the figurines are characterized by a single art canon: rounded breast and belly shapes are hypertrophied, very thin hands are stacked on the chest, the legs are a bit bent, the faces are almost smooth, without details. In 1977, the first "Paleolithic Venus" was found in Avdeevo with a carefully worked person (right up to hairstyle or hats, which was transferred to the rows of notes). On several figures, decorations are noticeable, including bracelets and facing breasts.
Figures made of stone (limestone, mergel) or from the Mammoth's beavna. The cult and ritual appointment of the statuette of the animal and stone, obviously varied. "Figures from limestone deliberately chopped heads and legs, damaged breasts and stomachs", while the onset figures are preserved in immunity: they were "stored in special deepens with other meanings for an ancient person."

8. Venus Lespugskaya - Prehistoric 15-centimeter Women's Figure Figure from ivory, which belongs to the group T.N. "Paleolithic Venus" and dates back to the gravestites (26-24 thousand years BC).
Figurine was discovered in 1922 in the Rido cave near the village of Lespugue (Lespugue) on the slopes of Pyreneev (French Garonna Verkhnya Department). When extracting from the Earth received damage. Exposed in the Paris Museum of Man.
"Venus from Lespug" is unique for several reasons. Among all the "Paleolithic Venus" (tractable traditionally traded, the secondary sexual signs of a woman are most pronounced here, and first of all hypertrophied chest.

9. Venus Lossiel - Venus Lossiel, Fr. V? Nus de Laussel is one of the Paleolithic Venus of the Grevel Culture (about 20,000 years ago, the upper Paleolithic). It is a bas-relief on a limestone block painted with a red ocher. In the right hand, the naked Venus holds an object resembling Tour Rog. Venus Lossiel found in 1911 on excavations from the village. Lossel (Laussel) in the Commune of Mark, Dordogne Department, France.

9. Malta Venus - the conditional name of the three dozen "Paleolithic Venger" from the Mammoth's Timeline, which were discovered by the Soviet archaeologists at the Malta parking lot in the Irkutsk region and dated 21-19 thousand BC. The height ranges from 3.7 cm to 13.6 cm. Stored in the State Hermitage. These figures were found much east than the other "Paleolithic Venus". Prior to the study of Siberian parking, such objects were found exclusively in Europe. Despite significant variations between each other and the allocation of two main types (massive and graceal), in the aggregate of the statuette of the Siberian Paleolithic, differ significantly from European, which transmit a naked body and do not distinguish face features:
- Figurine heads are large and often have a schematic model. Ornament on the head - an attempt to convey the hairstyle. - The surface of some women's figures is covered with a solid ornament in the form of longitudinal notes. According to the hypothesis, A. P. Okladnikova, so depicts common fur clothing for Siberian peoples. - Secondary sexual signs are expressed weakly, the chest is transferred to the shallow carved line, some figurines seem to be cruel.
Usually figurines narrowed down the book, it is likely that they can be stuck in the ground. Sometimes holes are drilled in the lower part, which allowed them to hang as an amulet.

10. Venus Moravanian - Paleolithic Venus from Mammoth's Talnia, found in 1938 in Western Slovakia. Statuette was discovered by the Slovak farmer Stefan Gulman-Petrich near the village of Takery near Moravana-Nad Vagom in the late 30s of the 20th century and during World War II fell into the hands of the German archaeologist Lothar Tsotz, who sent it to the examination of Henri Brelie to Paris . Only in 1967, Venus was returned back to Slovakia.
In terms of its external characteristics, temporary correlation (22-23 thousand backs, the engraft culture) and the conditionally small distances of the findings of the Moravanian Venus are close to specimens from Villendorf and Westonice, which also have an underlined lush body forms.

11. Venus Neuchatorskaya - (also Venus from Montruts, Fr. V? Nus de Monruz) - Paleolithic Venus, found in 1990 in the suburbs of the Monguce of the Swiss Neuchant during the security excavations at the construction site of the A5 highway. The figurine was created about 12-13 thousand years ago and refers to the culture of Madeleine. As a material for making an ancient sculptor used an easy-to-handing gagat.
Being relatively small in size (1.8 cm height), the Neuless Venus abstractly transfers the shape of a curved female body with protruding buttocks. Perhaps the statuette was used as a suspension or amulet, as evidenced by the drilled through hole in its upper part. External characteristics, as well as production material, bring this find with Venus from Petersfels, discovered at a distance of 130 km from Neuchatel (South Baden-Württemberg, Germany). As a result, it can be assumed that they were either created by one person or belong to a single regional tradition of manufacturing such statuettes.

12. Venus from Petersfels - (also Venus from Angen, it. VenusFigurinen Vom Petersfels) - The statues of the era of the Upper Paleolithic found in South Germany from 1928 to 1978. In 1927, a German researcher Eduard Peters was not far from Angeny in Baden-Württemberg, the German researcher, Eduard Peters, discovered the Paleolithic parking of the ancient hunters of Madelena culture, located near the cliff, subsequently named after the scientist. In 1928-1933, under his leadership, large-scale excavations were organized here. Further parking studies were held in the 70s by the archaeologist Gerce Albrecht.
During the years of the excavations of Petersfels, 16 Paleolithic Venus was found, 15 of which were made from Gagat, and one of the deer horns, and have dimensions from 1 to 3.5 cm in height.

13. Venus Savignan - - Paleolithic Venus from Serpentina, found in 1925 in Savignano-Sul Panaro commune in Italy. The figurine was discovered in 1925 in the Italian commune of Savignano Sul-Panaro near the local resident of Olindo Zambelli during construction work at a depth of about 1 meter. The wife advised Zambelli to throw off the useless "stone", but instead the farmer took the find to the artist and sculptor Giuseppe Graziosa, who bought Venus and handed it to the Museum of Pigorini.

14. Venus from Tan-Tana - Anthropomorphic Quartzite Figure 58 mm long, found in 1999 by the German expedition in the floodplain of the River of the South Moroccan River Tang Tang. According to one of the hypotheses, together with Venus from Buret Rama (known since 1981), it is ancient (500-300 thousand years) a sample of "Paleolithic Venus" and, thus, the earliest known science monument of artistic creativity. Contracting this find Exceptionally anthropomorphic, especially as Paleolithic Venus, is very problematic.

15. Venus from Welsh-Fels - (Venus Shelclingenskaya, Venus Schwabskaya; it. Venus Vom Hohlen Fels, Vom Hohle Fels; Venus Von Schelklingen) - the oldest of famous science of Paleolithic Venus, found in 2008 in the Cave of the Chole Fels near the German city of Shelclingen. Age - in the interval between 35 and 40 thousand years; Belongs to Orignak culture (the beginning of the Upper Paleolithic), which is alleged, is the time of the early presence of Cryanonians in Europe. It is the ancient recognized work of the art of the upper Paleolithic and prehistoric figurative art in general.

16. Homelov - (Him. L? Wenmensch) is a statue of creatures with a human body and a lion's head found by archaeologists in Germany. Mammoth made from the Talnia, the statue is considered one of the most ancient known sculptures in the world and the most ancient zoomorphic sculpture. Scientists believe that the figure is possible a deity and was the subject of religious worship. After carrying out a radiocarbon analysis, the age of PC was determined at 32 thousand years. Later, a new dating was made, in accordance with which the age of sculpture is 40 thousand years.
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