Ancient Civilizations from Scythia to Siberia is an international journal covering such topics as history, archaeology, numismatics, epigraphy, papyrology and the history of material culture. It discusses art and the history of science and technology, as applied to the Ancient World and relating to the territory of the former Soviet Union, to research undertaken by scholars of the former Soviet Union abroad and to materials in collections in the former Soviet Union. Particular emphasis is given to the Black Sea area, the Caucasus, Asia Minor, Siberia and Central Asia, and the littoral of the Indian Ocean.

Ancient Civilizations from Scythia to Siberia is an international journal that covers topics such as history, archaeology, numismatics, epigraphy, papyrology, and the history of material culture. It discusses art and the history of science and technology as they relate to the Ancient World, particularly in the context of the former Soviet Union. The journal emphasizes research conducted by scholars from the former Soviet Union abroad and materials found in collections within the former Soviet Union. Special attention is given to the Black Sea area, the Caucasus, Asia Minor, Siberia, Central Asia, and the littoral of the Indian Ocean.

《Ancient Civilizations from Scythia to Siberia》是一本国际期刊，涵盖历史、考古学、货币学、铭文学、纸草学和物质文化史等主题。期刊讨论与古代世界相关的艺术、科学和技术史，特别关注前苏联地区的研究，包括前苏联学者在国外的研究以及前苏联收藏中的材料。期刊特别强调黑海地区、南高加索、亚细亚小、西伯利亚和中亚，以及印度洋沿岸的相关内容。

Ancient Civilizations from Scythia to Siberia

Abstract The 2018–2019 excavation of the basilica church at Machkhomeri yielded a rich assemblage of glass vessels, most of which are believed to belong to 6th century AD lamps. These were dumped into an annexed funerary chapel when the church was restructured to become a single-hall building. Glass lamps are well-known occurrences in late antique contexts across the Mediterranean and the Black Sea. However, the finds from the southwest Caucasus have often been neglected. The scope of this contribution is to present the glass finds from Machkhomeri. A collection of wick-holders for glass lamps retrieved in close stratigraphic proximity to the glass assemblage will also be described.

Emanuele E. Intagliata

Notes on a Glass Assemblage and Associated Wick-Holders from Machkhomeri (Khobi Municipality – Samegrelo-Zemo Svaneti, Western Georgia)

关于马奇科梅里（科布伊市-萨梅格列罗-上斯瓦涅季，西格鲁吉亚）玻璃器皿及关联灯芯夹的注记

Abstract During a survey on the territory of the Eklizi-Burun cult complex, a repeatedly densely folded fragment of a silver sheet was discovered. When unfolded during the restoration process, it turned out to be part of an art object depicting the mask of Medusa Gorgon. The size and shape of the item suggest its purpose as part of Roman military equipment (presumably part of the umbo or a knee guard). The stylistic features of the image give grounds to attribute it to the late Roman period.

Aleksandr Lysenko

Valentina Mordvintseva

Silver Gorgoneion from the Cult Place at Eklizi-Burun (Mountain Crimea)

埃克利兹-布伦（克里米亚山）祭祀地出土的银质戈尔贡头像

Abstract The contact between Greek artistic tradition and that of the local populations in the Northern Black Sea area has traditionally been addressed in oppositional and hierarchical terms, often employing categories determined by ethnic criteria. This trend is not only limited to this specific area, but is a phenomenon that concerns the so-called “frontiers” of the Greek world, such as Magna Graecia and Sicily. By adopting a non-hierarchical perspective, the well-known kouros from the gymnasium of Olbia is here reconsidered as case-study. This object has always puzzled scholars, often leading to rather bizarre interpretations. By contextualizing it in the local panorama and comparing it, in particular, with the kurgan stelae, the hybrid status of this artefact is highlighted, both from a formal, technical, and iconographic point of view. Since this conclusion suits better the archaeological evidence of Archaic Olbia, this analysis ultimately prompts a reconsideration of the materials from the Northern Black Sea poleis according to more flexible paradigms, enabling the dialectical exchange between various languages developing within the same “artistic space”.

Federico Figura

Artistic Bilingualism in the Greek Poleis of the Northern Black Sea: a Note on the Olbian Kouros in the State Hermitage Museum

北黑海希腊城邦的艺术双语现象：关于埃尔米塔什博物馆奥尔比亚库罗斯像的札记

Abstract The mountain area bordering Mesopotamia witnessed remarkable transformations to the human and cultural landscape starting from the end of the 2nd millennium. Stone hilltop structures began to spread and became the most distinct settlement form. Moreover, there was a dramatic increase in metalworking and weapons production, showing how the local social structure shifted towards militarization of society. These heavily fortified settlements have usually been labeled as “cyclopean fortresses” due to their similarity to European defensive structures. However, being built with large stones on strategic hilltops, they played different political and economic roles, and some were likely the seat of important local political entities. Fortresses from the southern Caucasus have attracted the attention of several distinguished scholars and studies, especially structures in present-day Armenia and northern Iran. This paper aims to present the evidence currently available regarding cyclopean structures in Western Azerbaijan, combining both remote sensing and soviet-era publications. A remarkable culture flourished during the Late Bronze–Early Iron Age in this area, generally known as “Hochdali-Kedabeg”.

Manuel Castelluccia

Safar Ashurov

Hillforts and Cyclopean Structures of Western Azerbaijan: a Preliminary Analysis

西阿塞拜疆的堡垒与独眼巨人结构：初步分析

Abstract Teišeba was the weather god of the Urartian State. Following the supreme god Ḫaldi, he was the second highest-ranked god in the Urartian pantheon. In all probability, the statuette of the beardless deity found during the Karmir Blur excavations could be identified with the Urartian weather god. It is generally accepted that with his left hand he clasps an axe against his chest, while his right hand swings a mace in front of his knees. Instead of this explanation we propose that this deity holds not a mace but a spindle. In this context it is noteworthy that according to A. Petrosyan, the name of the Urartian god Teišeba is deriving from Proto-Indo-European *teḱs – which means “axe”, but also “to weave”. *Teḱs also characterizes the cosmogonic action of the creator god, who in the context of the thunder-god myth, is to be identified with the thunder god.

ISSN	0929-077X, 1570-0577
h-index	12

Publication Information	Publisher: Brill Academic Publishers，Publishing cycle: ，Journal Type: journal，Open Access Journals: No
Basic data	Year of publication: 1995，Proportion of original research papers: 100.00%，Self Citation Rate:0.00%， Gold OA Rate: 0.00%

Ancient Civilizations from Scythia to Siberia

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Notes on a Glass Assemblage and Associated Wick-Holders from Machkhomeri (Khobi Municipality – Samegrelo-Zemo Svaneti, Western Georgia)

Silver Gorgoneion from the Cult Place at Eklizi-Burun (Mountain Crimea)

Artistic Bilingualism in the Greek Poleis of the Northern Black Sea: a Note on the Olbian Kouros in the State Hermitage Museum

Hillforts and Cyclopean Structures of Western Azerbaijan: a Preliminary Analysis

Spindle or Mace? A Hypothesis on One of the Attributes of the Statuette of the God Teišeba Discovered in Karmir Blur

Notes on a Glass Assemblage and Associated Wick-Holders from Machkhomeri (Khobi Municipality – Samegrelo-Zemo Svaneti, Western Georgia)

Silver Gorgoneion from the Cult Place at Eklizi-Burun (Mountain Crimea)

Artistic Bilingualism in the Greek Poleis of the Northern Black Sea: a Note on the Olbian Kouros in the State Hermitage Museum

Hillforts and Cyclopean Structures of Western Azerbaijan: a Preliminary Analysis

Spindle or Mace? A Hypothesis on One of the Attributes of the Statuette of the God Teišeba Discovered in Karmir Blur

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Journal Impact	0.21