The article is devoted to the use of non-ethnic attributes in traditional cultures of indigenous peoples of the north of Western Siberia. The source is the products of Russian artisans of the XVIII-XIX centuries: silver and copper saucers mainly with hunting scenes, made for the needs of foreigners. Variants of their use in the ritual practice of the Ob Ugrians are considered. Product characteristics and attribution are given. The use of Russian metal tableware is considered in the context of a long cultural tradition: the existence of non-ethnic metal vessels (made in Iran, Central Asia, Volga Bulgaria, the Kama region, etc.) in the religious and ritual practice of the Khants and Mansi.

Keywords: Tobolsk, workshops, silver, saucers, Khanty, Mansi, tradition, sanctuaries, rituals.

Introduction

During the 19th and 20th centuries, many Russian-made silver, copper, and tin saucers were found in Mansi and Khanty home and village shrines*. This phenomenon reflected the long-standing tradition of using silver vessels in rituals.

Religious and mythological representations of the Ob Ugrians during the second millennium AD were largely transmitted through ritual practice. Its core was the cult paraphernalia, in which metal products stood out. Other ethnic attributes played a decisive role in this process: silver vessels from Iran and Central Asia, which arrived in Siberia in the IX-XII centuries, formed the tradition of using sacred (silver) metal products in the rituals of the Ob Ugrians. Unique examples of Eastern toreutics became the center of ritual practice, and the subjects presented on them contributed to the development of mythological representations and iconography of the Ob Ugrians (Chernetsov, 1947; Baulo, 1999).

In the IX-XIV centuries, merchants of the Kama region and Volga Bulgaria entered into trade relations with the inhabitants of the Ob region. Their products continued the tradition of promoting eastern silver to the north; an innovation was the production of silver utensils tailored to the needs of northerners. After the collapse of Volga Bulgaria in the 13th century, artistic silver was practically not supplied to the north of Siberia. Its supplies resumed with the entry of the Voguls and Ostyaks into the Russian state. When making silver and copper utensils for the Northerners, Russian artisans were guided by earlier samples of Iran, Central Asia, and Volga Bulgaria. Large Iranian or Bulgarian dishes

* Material for the article was collected in 1984-2009 in the following villages: Yasunt, Shchekurya, Khoshlog, Hurumpaul, Lombovozh (Lyalin River basin, Mansi River basin), Yany-paul, Halpa-ul, Nyaksimvol, Ust-Tapsui, Khulimsunt, Upper Nildino, Lower Nildino (Severnaya Sosva River basin,Mansi River basin). Mansi), Tutleim, Tags, Yukhan-kurt (Khanty) of the Berezovsky district of the Khanty-Mansi Autonomous Okrug-Yugra; Ishvary, Anzhigort, Nimvozhgort, Yamgort, Khanty-Muzhi, Shuryshkary (Khanty) of the Shuryshkarsky District of the Yamalo-Nenets Autonomous District; Zeleny Yar (Nenets, Khanty) of the Priuralsky District of the Yamalo-Nenets Autonomous District.

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instead of silver, stamped plates, silver and copper saucers with images of horsemen, animals and hunting scenes were replaced. The preservation of the tradition was largely determined by the order from the Voguls and Ostyaks.

S. Melnikov [1852], O. Finsch and A. Bram [1882], N. L. Gondatti [1888], A. Kannisto [Kannisto, 1958], V. N. Chernetsov [1947], I. N. Gemuev and A.M. Sagalaev [1986] mentioned Russian saucers in the rituals of the Ob Ugrians. A special article on metal saucers is written by N. F. Prytkova [1949]. A large range of sources was introduced into scientific circulation by I. N. Gemuev [1990] and A.V. Baulo[2009].

Saucers in Mansi and Khanty rites

Metal saucers in the ritual practice of the Mansi and Khanty were used to decorate the figures of patron spirits; as a vessel for sacrificial blood or food; as an offering to the deities with a magical purpose; as an attribute of the bear festival.

Design of deity figures. The saucers could be the base of a deity figure made from robes or shirts, or its face, emphasizing the sacred image of the patron spirit. In the opinion of St. Ivanova, the identification of spirits ' faces using silver saucers or copper buttons is explained by the desire of the peoples of northern Siberia to make wooden images look like metal ones [1970, p. 62].

The" face " of the deity. At the end of the 19th century, I. Papai described the image of the "spirit of the Polui River": in the yurt, two gods stood in a place of honor, their bodies were made of clothes, and their faces were "tin plates" (see: Karjalainen, 1995, p.25). On the Mansi sanctuary of Chokhryn-oiki - "Dragonflies of the old man" in the vicinity of the village. Ust-Tapsui in a birch bark sign there were anthropomorphic figures of Torum-oika, the "Old God" and his wife, whose faces were marked with copper saucers with minted images of St. George on a horse (Gemuev and Baulo, 1999, pp. 54-57).

Anthropomorphic figures of Nyais-talah-oika-pyga - "Son of a man from the top of the Nyais River" and Hangla-sam-nai-ekea - "Goddess of fire from the village of Hanglasam" were kept by the Mansi shaman T. I. Nomin. The body of the first is made of handkerchiefs, the face is marked with a silver saucer, along the edge of which are depicted a hunter, a dog and a running deer. The saucer was made in Tobolsk in the 1820s. It is covered with a thick layer of fat-traces of the" treat " of the god. The sacred image of the goddess is emphasized by a large copper saucer (diameter 12 cm), attached with yellow ribbons to the body. In the middle of the saucer is an image of a deer, along the edges-a hunter drawing a bow, and two dogs [Ibid., pp. 70-72] (Fig. 1, a).

Fig. 1. Figures of patron spirits, whose faces are marked with silver saucers, a-mansi, the river basin. Severnaya Sosva; b-Khanty, Poluy River basin.

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In the village. Yasunt the figure of the patron spirit of the Mansi Khozumovs was made of several dressing gowns with a money of 1748, a dime of 1771, two nickels of 1755 and 1756 tied in the corners. The face served as a brass saucer with a hunting scene. In the same village, in the sacred chest of the Mansi Luzins, a saucer made of tin or low-grade silver (the work of Russian masters, the turn of the XVIII-XIX centuries) was kept with two late holes along the edge: once it was sewn to the figure of the family patron spirit as a face. In the Yamalo-Nenets Regional Museum and Exhibition Complex named after Shemanovsky, an image of the Khanty deity from the village of Zeleny Yar is kept. The upper garment of the figure is made of golden brocade and tied with a wide red belt. The face is marked with a Moscow silver saucer with the image of a labaz that resembles the sacred granaries of the Ob Ugrians (Fig. 1, b).

Image element, shape base. The materials of the staff physician V. N. Shavrov (1826) describe the figure of Masterlong, the messenger of the "high gods" and the" god of health "among the northern Khants:" In the front corner of the temple dedicated to Long, there is a large bag stuffed tightly with various kinds of junk and very tightly tied; in the middle of this bag is tied the plate has the bottom to the bag, and the recess to the outside; this binding represents a belt, and this bag is the Long itself" (cit. by: [Belyavsky, 1833, p. 97]).

In the 1930s, on the Mansi sacred site of Yi-pyg-oiki - "The old Man's Owl" near the village. Halpaul in the barn, two stamped tin plates were kept in a piece of silk cloth, one with a picture of a junk and Japanese fans, the other with a portrait of Queen Victoria (this plate most likely had a portrait of her husband Albert, but it was hidden by a piece of cloth). According to V. N. Chernetsov, the plates were images of patron spirits [Sources..., 1987, p. 206].

A copper saucer issued in 1832 with the image of a running deer, a hunter and two dogs was discovered by I. N. Gemuev and A.M. Sagalaev at the Lyapin mansi in the sanctuary of the "god of war" Khont-torum. It was lying in the barn next to the figure of Mir-susne-hum - " The world of the looking man." Two holes punched along the edge of the saucer indicated that it was previously attached to something, according to the authors - to the "chest of Mir-susne-huma". There was also a factory-made silver-plated saucer with a floral ornament on the bottom. Along the edge of the product, two holes are punched for attaching, apparently, to the lost idol [Gemuev and Sagalaev, 1986, pp. 69-71].

In the village. Anzhigort the Yeleskin khants keep a figure of the family spirit-patron, the core of the head of which is a silver saucer made in Tobolsk in 1820. On its front side is a bear. Figure of the patron spirit of the Longortov Khanty from the village. Yamgort is made of several handkerchiefs, its core is a bundle containing a copper saucer produced in the 1830s with images of a deer, a hunter and two dogs, as well as a copper hollow horn for tobacco. In the same village, the family of Z. S. Kurtyamova keeps a figure of the deity, which is based on a tin saucer with portraits of Albert and Victoria, over which dressing gowns are worn.

Two saucers with images of a deer, two dogs and a hunter with a bow, each with two holes for fastening, were found near Mansi in the village. Yany-pa-ul and on the sacred shelf in the house in the village. Lower Nildino [Gemuev and Baulo, 1999, p. 34, 147]. In the village of Khoshlog, the Mansi Merovs kept a silver saucer with the image of a running horse. The edge of the product is punched in four places, a harsh thread is passed through the holes, on which several copper rings are worn. Apparently, the saucer was previously attached to the figure of the patron spirit as a face.

sacrificial blood and food. Vessel for According to S. Melnikov (the earliest report on the use of Russian saucers in rituals), in such vessels the blood of a sacrificed horse was poured. The owner of the animal or shaman, taking a vessel, went up to the idols and, dipping his finger in the blood, put it on three dashes on each. The shaman drank the remaining blood himself and gave it to those present to drink. The vessel that S. Melnikov purchased for the Geographical Society was decorated with images of deer, fox, sable and a hunter with a bow (Melnikov, 1852, p. 29). According to Yu. I. Kushelevsky, the Ostyaks and Samoyeds placed small (1.5 inches in diameter) metal plates with images of devils near the idol, and blood from the heart of the sacrificial animal was poured into them [1868, pp. 113-114]. In the sacred place of the Vasyugan ostyaks, in front of the figure of Ortyn-pai, on a small table, there was "a silver plate, in the manner of a dessert plate, where passing and coming foreigners put their gifts. This plate is marked with various dashes and circles, unlike, however, any writing or hieroglyphs" [Grigorovsky, 1884, p.38]. In the village. Yamnel-Paul during the festival dedicated to the Silver Baba, the Voguls placed silver plates with blood and meat in front of the figure of the goddess (Nosilov, 1904, pp. 112-117).

A sacrificial gift. Saucers were often offered to the deities for magical purposes. A separate group includes gifts to the Heavenly Horseman - Mir-sus-ne-humu. At the beginning of the 20th century, in the Shaitan yurts in Northern Sosva, A. Kannisto photographed a dish from the voguls, explaining: "A sacrificial plate, made in Russia... it is attached to a sacrificial handkerchief, to which many copper rings are tied.

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There is an image of the rider of St. George fighting with a dragon. The Voghuls explain this image as Mir-susne-huma, which is perceived as a horseman... " (cit. according to: [Vahter, 1953, S. 102-103]).

According to the materials of N. L. Gondatti, in shamanic kamlania, Mir-susne-hum was invoked:"... for his invocation, most often use the night when he makes his detour around the earth... very often, several silver or even metal plates are placed in front of the dwelling at this time in advance so that the God's horse can stand not on bare ground or snow" [1888, pp. 12-13, 19]. Since at the same time a sacrificial blanket with images of the Heavenly Rider was placed on the horse's back, metal saucers are often the butt of the blankets in the Mansi and Khanty home sanctuaries. In the sacred chest in the house of P. E. Sheshkin in the village of Lombovozh were kept five saucers - three silver and two copper. The first shows a coat of arms, a galloping horse, and a deer against a mountain background; the second shows a deer, a hunter, and two dogs. In the village. Upper Nildino in the house of K. Pakin, along with bedspreads, a silver saucer with the figure of a galloping deer and two copper ones were kept: one without drawings, the other with the stamps of Z. K. and two embossed medals [Gemuev, 1990, pp. 76-77, 117-118]. The same group includes a silver-plated saucer with the image of a deer in the center and a hunting scene along the edge (the village of Halpaul, Pelikovs); three silver ones: one (Moscow, 1830) with a similar plot (the village of Halpaul, Pelikovs). Nyaksimvol, Dunaevy), another (Tobolsk, the first quarter of the XIX century) with a deer figure (village of Khulimsunt, Puksikovy) [Gemuev and Baulo, 1999, p. 41, 52, 88], the third with the image of a man in a boat (village of Khulimsunt, Puksikovy); copper saucers with figures of a galloping deer, a hunter, etc. two dogs (Yasunt, Khozumov, Luziny villages). In the home sanctuary of the Gyndybins in the village. The upper Nildino butt to the sacrificial blanket was a tin saucer with a portrait of Adam Mickiewicz, made in Odessa [Ibid., p. 132].

A significant part of the saucers has a deer in the center. Perhaps the gift of such a saucer could imitate the ancient custom of offering and eating the meat of a sacrificial animal from metal dishes (Chernetsov, 1947, p. 120).

On November 30, 1869, the report of the Berezovsky district lawyer to the Tobolsk governor reported: "... in August of this year, there was a theft from a shaitan belonging to foreigners up to 200 people, who was 15 versts away from the Toupogol yurts, in a mountain, an empty place, by a settler Peterson... Property under the shaitan consisted of 5 gold plates the size of a tea saucer or less, one gold cup, small silver plates in a sufficient amount... "[Izd...., 2003, pp. 231-233].

In 1876, O. Finsch and A. Bram visited the Ostyak sanctuary near the village. Vespugol on the lower Ob was described as a " bundle... in the form of a mummy wrapped in red rags with ribbons." The "bundle" contained sacrificial offerings to the "spirit of Ort sitting on top", and four metal plates were mounted above it. The two silver ones had an image of a deer in the center, a hunter and two dogs on the edge, and the production dates of 1832 and 1833 were also stamped. The other two plates were identified by travelers as pewter "of European origin", which "apparently served as children's toys in England. Both of them had the English alphabet on the edges, one also had a belt portrait of Victoria and Albert, and the other of Oscar and Josephine, with appropriate inscriptions" [Finsh, Bram, 1882, pp. 436-437]. A similar tin saucer wrapped in a red handkerchief was part of the attributes of the Saynakhovs ' home sanctuary in the village. Shchekurya. On its front side are minted belt portraits of the English reigning couple with the inscription "Albert & Victoria" over their heads, along the edge of the product are applied letters of the Latin alphabet. A tin saucer with portraits of Albert and Victoria was found under the floor of a sacred barn destroyed by time near the village. Nimvozhgort.

As part of the attributes of the Mansi Ovezov home sanctuary in the village. Two saucers were kept in Khurumpaul: one was silver - plated, with a deer figure in the center and a hunting scene along the edge, and the other was silver, with a deer image (Gemuev and Sagalaev, 1986, p. 157, 159). A similar saucer was placed in the sacred barn of Mis-ne, the "Forest Woman" in the same village (Gemuev, 1990, p. 66). An impressive offering to a domestic deity in the village of Khoshlog, wrapped in silk cloth, included a heavy copper figurine of a horse (a product of Russian masters of the XIX century) with a bell around its neck, a Moscow silver saucer with the image of a galloping deer, and coins from 1840 to 1890. Silver saucers with a hunting scene around the edge were found on the back shelf of a sacred barn near the former village of St. Petersburg. Lower Nildino and in the sacred chest in the village. Johan-Kurt.

Tinned copper saucers with a scene of deer hunting were located in the sanctuary of Chokhryn-oika-" Dragonfly-old man " nar. Tapsui [Gemuev and Baulo, 1999, p. 57], sacred granaries in the village of Kama. Khanty-Muzhi (2 copies), a sanctuary in the Polui River basin. A saucer with a deer figure was delivered to the Berezovsky Museum of Local Lore as part of the cult attributes of the Khants from the village of Tutleim.

An attribute of the bear festival. During the bear festival, the nose of a dead bear was covered with a circle of birch bark or a round metal plate. According to informant A.D. Khozumov, saucers were used for the same purpose, in which they were punched

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holes for binding. In the report of the priest I. Goloshubin dated July 6, 1891, the ritual for the bear's extraction is described: "The skin stripped from it is placed on the table in the front corner, its legs and head are spread out; each of the claws is put on as many rings as they can fit; a silver plate is attached to the bear's nose..." [From the story..., 2004, p. 181].

* * *

A number of saucers related to the attributes of the Ob Ugrians are in Russian museums. These are silver saucers with images of a deer and a rider (TGIAMZ); two items each with a bear figure and a hunting scene (YANOMVK im. Two silver saucers with images of a hunter and a deer, a bear (Saranpaul village Museum of the Berezovsky district of the Khanty-Mansi Autonomous Okrug). In four of these exhibits, a hole is punched, which indicates their existence in the ritual sphere of Mansi and Khanty. Five saucers from V. S. Adrianov's collection at the Khants ' in 1936 are kept in the MAE RAS [Prytkova, 1949, p. 39].

Among other uses, we can mention a copper saucer with a hunting scene as part of pendants on a women's sewing bag (Ishvary village, Khanty Togochevy). Another item is known in the materials of the excavations of d. Yanovich at the Halas-Pugor burial ground in 1909 [Murashko and Krenke, 2001, p. 46].

D. N. Anuchin published information about the purchase of Ob Ugrians and the use in ritual practice of Russian church utensils-copper or silver plates for prosphora (see: [Prytkova, 1949, p. 43]). Similar plates made of brass or tinplate were repeatedly recorded in the Mansi home shrines on Severnaya Sosva and Lyapin, as well as in the village of Zeleny Yar among the Khants.

Russian saucers in the rituals of the Ob Ugrians: the origins of the tradition

The entry of Russian metal saucers into the ritual sphere of the Ob Ugrians was carried out within the framework of a well-known phenomenon - the active centuries-old use of other ethnic attributes by the Voguls and Ostyaks for sacred purposes: Iranian, Central Asian, Bulgarian, and Kama silver bowls (see, for example, [Chernetsov, 1947; Baulo, 1999; et al.]. Russian saucers became a link connecting the late cult tableware of the Ugric peoples with ancient and eastern silver products that fell to the ancestors of the Ugric peoples during the first millennium AD [1949, p. 46]. Recently, medieval round silver plaques of the X-XIII centuries with the image of a horseman, which coincide in size with Russian saucers, have also entered scientific circulation (Fig. 2).

2. Medieval silver badge with the image of a horseman. Diameter 11.5 cm.

The commonality of the plots on Iranian (Bulgarian) bowls and Russian products is noteworthy. Hunting scenes and figures of horsemen are still popular (instead of the shah, they depicted St. George or a mounted warrior). "Plates" with portraits of tsars are in demand (the Iranian rulers are replaced by English monarchs). From the background details, I will note the preservation of the traditional image of animals on Russian saucers for Sasanian toreutics against the background of a mountain landscape. There are two possible explanations for these coincidences. On the one hand, Russian artisans in Tobolsk, Berezovo, and Obdorsk were probably familiar with the examples of Oriental toreutics that appeared in the region's markets during the famine years of the 18th and 19th centuries, and could have borrowed some of the themes. On the other hand, if many workshops were made to order from foreigners, it (the order) could largely be determined by the desire of the Ob Ugrians to see copies of ancient sacred dishes located in the sanctuaries, with a repetition of the main plot lines. At least, there is a clear preservation of the round shape of the cult utensils while reducing the size of the products.

Russian saucers were also included in a number of traditional religious ceremonies: during the calling of Mir-su s-ne-hum in shamanic kamlania, four silver saucers were placed at the back wall of the house in the XIX-XX centuries. According to V. N. Chernetsov, silver dishes and plates were used for this purpose in some large genera (in Kaltas-sian-paula, the place where the goddess Kaltas lived, and in the Trinity yurts, the largest place of worship of Mir - susne - hum) [1947, p. 121]. Perhaps they, in turn, replaced the large copper ones.

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cauldrons: in one of the legends of the northern Voguls, Mir-susne-hum on a white horse descended through the roof to the floor of the hut, "the horse lowered its four legs into four cauldrons" [Kannisto, 1958, s. 143-144]; according to the legend of the Kazym Khanty, when the horse of the Heavenly Rider began to descend to the ground, the people He picked up four golden cauldrons and placed them in four places [Zemlya..., 2003, p. 87].

Characteristics and attribution of saucers found in Northern Siberia

To date, approx. 60 saucers (Baulo, 2009). They are mostly small plates with a convex bottom. Products were carved from silver and copper plates; most of the images are made by coinage, a smaller part-by engraving. 24 saucers are made of silver, 2 are made of tin, 10 are made of tin, and the rest are made of copper. When making saucers, they were tinted or covered with a thin layer of silver. The vast majority of products are made by Russian craftsmen; some have foreign brands; the origin of tin saucers with portraits of the rulers of Britain is difficult to determine.

The most common plot is the scene of a man hunting a deer (46 copies). There are significantly fewer saucers with one figure of a deer (7 copies), a bear (4 copies), a horse (2 copies, identical), with the image of horsemen (5 copies). On six saucers there are portraits of representatives of the reigning dynasty, on one-the writer A. Mickiewicz. The rest of the stories are presented in single copies.

An important task of the research is the attribution of saucers. Available on many silver products "namesakes" of testers, master manufacturers and brands with the coats of arms of Siberia, Moscow and Tobolsk allow you to accurately determine the time and place of their production. The situation with attribution of copper products is more complicated, since they do not have stamps; only a number of items are stamped with the year of manufacture.

Silver saucers found in the Mansi and Khanty cult complexes are divided into two groups: officially issued items with a full set of brands and items only with the brand of the master (i.e. not presented to the probirer). The first group consists of saucers produced in Tobolsk (16 copies) and Moscow (7 copies). There is little information about Tobolsk workshops. In particular, it is known that after 1711 Swedish prisoners were sent to Tobolsk. Some officers were engaged in silver production. One of them, who had been trained in this craft in his youth, set up a large workshop, the costs of which were taken over by Governor Gagarin.

It was used for making silver sets and other precious items. Some prisoners eventually also set up workshops [Sibirskiy Listok, 2003, p. 43]. In 1765, 13 silversmiths worked in Tobolsk. Silver imported from China and Bukhara was bought by local craftsmen at the Irbit Fair. At the end of the 1770s, 50-100 poods of silver were received annually from the Bukharians in Tobolsk province. Silver and black objects made in Tobolsk in the 1770s also had local subjects: a hunter on skis, a rider chasing a deer, etc.; in the funds of the State Museum of Fine Arts there is a silver milkman from 1778 with the image of a man hunting a fur-bearing animal with a dog [Postnikova-Loseva, Platonova, Ulyanova, 1983, pp. 54, 106, 107]. More detailed information about the silver craft of Tobolsk can be found in the article by N. V. Sukhorukova [1993].

Tobolsk products with official brands include six saucers made in 1795, 1797, 1820, 1829, 1843 or 1847 (Fig. 3). The earliest saucer of Moscow production (Fig. 4), discovered as part of the cult attributes of the Ob Ugric Peoples, is dated 1830, and the latest - 1891; three of them were found in the city of Tobolsk. products with the image of a deer and a hunting scene are made in one workshop in one year; saucers with the figure of a horse are duplicates.

The second group of silver saucers includes items only with the stamp of the master P. T. Bryukhanov, who worked in Tobolsk in the late XVIII-first quarter of the XIX century. Most likely, this is the brand of the owner of workshops, because saucers differ from each other in the manner of execution and quality. Since the demand for his products among foreigners was high, Bryukhanov apparently did not disdain making products from low-grade silver. This reduced the cost of production, but did not allow you to present it to the probirer. There are seven known saucers with the brand of Bryukhanov (three of the brands are partially knocked down).

The most popular group of products is copper saucers. Most of them were made "for silver" - by tinning or silvering the surface (Fig. 5, a-b). According to S. Melnikov, in the middle of the XIX century, for a tinned copper plate purchased in Berezovo, mansi was given 100 squirrels, which cost 6 p. 50 k. silver [1852, p. 29]. Such "plates" were the property of wealthy people and were brought by fishermen "from above" by order of the Khanty and Mansi. In 1824, Russian merchants brought to the Obdorsk Fair silver "small circles with the image of a man or beast (these are most often used to decorate idols)" [Prytkova, 1949, p. 42-44; Murashko and Krenke, 2001, p. 24].

The place of production of copper saucers is not reliably established. By image style and suge-

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3. Tobolsk silver saucers.

a - with a hunting scene. 1795. Diameter 11.8 cm; b - with the image of a bear. 1820. Diameter 10.4 cm; b - with the figure of a galloping deer. 1822. Diameter 10.0 cm; d - with the image of a mounted warrior. First quarter of the 19th century Diameter 11.8 cm.

4. Moscow silver saucers, a-with a hunting scene. 1830. Diameter 12 cm; b - with the image of a galloping horse. 1884. Diameter 10 cm.

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5. Copper and tin saucers of craft centers of the north of Western Siberia, a - with the image of St. George and a hunting scene. 1830s. Diameter 9.2 cm; b - with the image of deer and fur-bearing animals. First quarter of the 19th century Diameter 9.4 cm; b-with a hunting scene. 1830s. Diameter 12 cm; d-with the plot "Boys on the hunt". The turn of the XIX-XX centuries. The diameter is 10.4 cm.

there, in most cases, they are similar to products made in Tobolsk or small craft centers in the north of Western Siberia (Obdorsk, Berezovo, etc.). Judging by the dates stamped on a number of saucers, they were made in 1830-1834. A rather narrow period of production of copper products may indicate a single craft center.

I will also mention tin (without images) and tin saucers. Among the latter, there are painted copies with genre scenes( Fig. 5, d), plant or geometric ornaments.

Foreign saucers in the ritual practice of the Ob Ugrians were used on a par with Russian samples. Saucers with portraits of Oscar and Josephine, Victoria and Albert, according to O. Finsch, are "of European origin" and "apparently served as children's toys in England" (Finsch and Bram, 1882, pp. 436-437). In the 20th century, several "plates" with portraits of Victoria and Albert were discovered at once. The same cycle of "alphabet plates" includes a saucer from the collection of T. Lehtisalo, collected from the Samoyeds (1911-1914, stored in the Museum of Cultures in Helsinki, VK 4899:113).*. The sparrow with my bow and arrow, who killed cock Robin " - " Sparrow with my bow and arrow, who killed cock Robin "(a line from a well-known poem, first published in the middle of the XVIII century in England in the collection" Tales of Mother Goose").,

* I would like to thank I. Lehtinen (Museum of Cultures, Helsinki, Finland) for pointing out this saucer.

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6. "European" tin saucers (diameter 16 cm) with portraits of the English royal couple Albert and Victoria (a) and the image of a sparrow with a bow and arrow (b).

There is some doubt about the "European" origin of the "alphabet plates": perhaps they are tin copies made in Russia from English samples; they can be dated to the end of the XIX century (Fig.

Conclusions

Since joining the Russian state, the Voguls and Ostyaks have been included in the sphere of active trade relations with the Russian people. Having understood the requests of Siberians for metal products (dishes, bowls, figurines, figurines, saucers, plaques, etc.), Russian artisans and merchants continued the tradition of supplying silver and copper utensils to the north of Siberia. Most likely, the masters were guided by the well-known earlier samples of Iran, Central Asia, and Volga Bulgaria. Large cast silver Iranian or Bulgarian dishes were replaced by stamped plates, silver and copper saucers with images of royalty, horsemen, animals and hunting scenes. The preservation of the tradition, therefore, was largely determined by the order from the Voguls and Ostyaks.

In the 1760s and 1820s, silversmith workshops in Tobolsk were actively working to meet the specific needs of Ostyaks and Voguls. In 1830, one of the Moscow workshops produced a series of silver saucers with a scene of deer hunting. In the 1830s, copper (tinned and silver-plated) copies of these products of various sizes were made in Moscow or Tobolsk (the latter seems more likely). In 1830-1834, an unknown workshop in Western Siberia produced low-quality copper saucers. There was a surge in the work of the Tobolsk school of silversmiths in the 1840s. In the 1860s-1890s, there was a second wave of Moscow silver products to the northern market. At the turn of the XIX - XX centuries tin painted plates were produced in Siberia.

Russian silver products supported the already created images, traditions, the system of functioning of the metal attribute in the religious and ritual complex, its central role in the ritual. They became part of the family cult attributes: small items of utensils acquired by voguls and ostyaks were presented as a gift to their own patron spirits, and served as the basis for creating their figures. The most important thing was sometimes the metal, perceived as sacred, essence of these objects.

List of literature

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The article was submitted to the editorial Board on 05.02.12, in the final version-on 18.02.13.

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