CeMaHTMKa Boraro roHHapHoro ropHa b 6inopycbKiM Kynwypi Kocmnnmun Paxno The article deals with the specific character of the traditional perception of the fire of a pottery kiln in the context of the mythopoetical model of the world among the Belarusians. This flame was identified with lightning, the stormy fire of Perun, which was interpreted as an emanation of this pagan God. The author analyses Belarusian legends on the origin of fire, Slavonic folk beliefs and rites connected with storm, thunder and lightning, the folk attitude to the fire, which was kindled by a thunderclap. There is a close correspondence between these concepts and Vedic mythology. The old Belarusian myth on the origin of the world, where the lightning of Perun plays an important part, has staggering parallels with ancient Vedic cosmogony. The fire in the potter's kiln is a primordial flame, given by the Thunderer; it is frightful and dangerous owing to its appearance from the other world. It is opposed to ordinary fire, which is secondary and tame. But just this stormy fire, which retains its own demiurgic potential, is used by potters. An archetypal precedent is reproduced in the ceremony of pottery-making, wherein the ceremony is projected in the sacral time of commencement. npu onuci roHHapHoro o6pagy BuroToBneHHA nocygy (puTyani3oBaHoi TexHono-rii), hk npaBuno, ocHoBHa yBara npugmaeTbcfl nerKo ^iKcoBaHMM npaBunaM noBegiHKu, iHBeHTapeBi o6pagoBux npegMeTHux i a^ioHanbHux cmmboMb. npu ^oMy, nonpu Te, ^o gna MMcneHHA HociiB Tpagu^ftHoi KynbTypu Mi^onoro-KocMonoriHHuft acneKT He MeHm Ba^nMBMM, aHm npaKTMHHMft, "no3a KagpoM" 3anumaeTbcfl ixhh ceMaHTMKa. 3o-cTaeTbca He3'acoBaHUM, HKe caMe 3HaHeHHa BKnaganu b ^ cmmbohm, HoMy Ti a6o iHmi ABu^a, npegMeTM hm gii Manu TaKy Bary b o6pagi. 06'gktom gaHoro gocnig^eHHA e c^e^M^iKa Tpagu^ftHoro cnpuftHHTTa nonyM'a roHHapHoro ropHa b KoHTeKCTi Mi^onoeTMHHoi Mogeni cBiTy 6inopyciB. CTuxia Bor-Hro b KoHTeKCTi HaftgaBHimux peMecen Maft^e He 6yna npegMeToM po3raagy, xoHa y roHHapcTBi 6inopyciB, hk i b iHmux chob'hh, 36eperaoca HMMano BignoBigHux o6pa-giB, BipyBaHb, npucniB'iB. Bohm e 6narogaTHMM MaTepianoM gna gocnig^eHb, y ToMy Hucni b 6anTo-cnoB'HHcbKift Ta iHgoeBponeftcbKift nepcneKTMBi. ApxaiHHicTb 6ino-pycbKux gaHux y3rog^yeTbcfl 3 Te3oro npo ix oco6nuBy 3HaHy^icTb gna peKoHcTpy^ii cnoB'HHcbKoro H3MHHu^TBa [MBaHoB, TonopoB 1970, c. 321-389; iBaHoy, Tanapoy 1972, c. 163-175; MBaHoB, TonopoB 1974, c. 4-7, 9, 12, 14, 31-32, 40, 75-77, 85-88, 97-98, 101-102; CygHMK 1979, c. 229-233; HuKonaeB, CTpaxoB 1987, c. 151, 157; Katicic 1988, S. 61-74; KneftH 2004, c. 9-11, 33, 62, 344, 348, 382]. Konu nocyg nig Hac BunanroBaHHH nycKaB y neHi, roHHapi 6araTbox ocepegKiB 3axigHoi Binopyci, 3oKpeMa, 3a6op^B OcTpoBu^Koro paftoHy, 3a6noTbH Ta KypHiKiB CMoproHcbKoro paftoHy TpogHeHcbKoi o6nacri, By^BMHiB i ^minoB^B nocTaBcbKoro paMOHy, 3aMom'a koho BoHKoHaTu floKmu^Koro pañoHy BiTe6cbKoi o6nacTÍ, CepogiB MageHbcbKoro pañoHy MiHCbKoi o6nacTÍ Ka3aHu, ^o Moro "nHpyn 6be^" (piarun bijec) [Holubowicz 1950, s. 232]. OT^e, noHyM'a y ropHi oTOTo^HroBaHoca 3 6HucKaBKoro, rpo-3obmm BorHeM nepyHa, ^o BucTynaB eMaHa^ero ^oro Bora [ByraiK 2004, c. 502]. 3rigHo 3 BipyBaHHHMM 6inopyciB, 3a^iKcoBaHMMM y ^oHbKHopHux TeKCTax, aBTo-homhmx i He3ane^HMx Big o6pagy BuroToBHeHHA nocygy, nepmuM BoroHb, hkmm nona-hm KopucTyBaTucH npegKM, noxoguB 3 He6a, Big "nepyHa", hkmm rpoMoBep:®e^ - "Eo¿", "nHpyn" b^hmb y gepeBo, HaMararonucb y6uTu HopTa: "nepmu a^onb 3 ne6a, 3 nepyna naxoÓ3tyb, 6o hk Eyo^ npa^nay Adaua i EBy 3 paw i pa3aM 3 iMi ma^o nopma, mmo ix cKyciy, maK nacnay na ix cmpamnyw 6ypy, ^puMomy, maK nopm cxaBaycH nad Hcen, a Eyo^ - mpax! - y e^o nepynoM, maK aM Hcen 3ananiycH, i AdaM ad mye napu pa3bBey ma^o a^nw i na ce^odnemni Ó3enb mu MaeM." [Federowski 1897, s. 239]; "nepmu a^oHb 3bHBiycH ad nepyna. Om hk mae 6uno. Mk Eo^ Bb^nay nepmux nw-Ó3eü 3 paw, ma nacnay na mamana BxniKix ^puMomu 3a moH, mmo en cnaKyciy nwÓ3eü. Hopm KpywycH-KpywycH, HHMa Kydu Ó3e^a, mo nap^m^e en i cynyy nad cyxacmoünae Ó3epaBo. nHpyn, Ka6 3a6^b nopma, hk mp^cnay y moe Ó3epaBo, duK hho ü 3a^ap^naco. AdaM 6uy 6ni3Ko da hk y6anuy moe, daK i y3Hy ca6e a^onb. A nomuM K0Mn0^ pa3, hk HMy mp^6a a^onb, ma en nanne ^p^i cyxoe d3epaBo adno a6 dpy^oe, ma hho ü 3a^apu^^a. Mk nanaBeK namoy y cBem myKaw, d3e nenm, daK i 3a6nyd3iyca da mpaniy na maKoe Meücup, d3e BenbMi xonadno. Om Eo^ 3'HBiycHHMy da ü naBynay mo, hk dacma^ a^onb 3 KpaMen^ ü Mane3Ka" [Cep^nyToycKi 1998, c. 52]; "nepmu a^onb k naM npunH^y 3 nepynoM, da hk 3a^ap^ycH ad3in xBapacmoBu Kyp^nb, daK nwd3b 36e^nicH adycwnb i daBaü xana^ ^anaBemKi da na cBaix KypanHx i 3HMnHHKaxy noneni nepaxoBuBa^. Adnana emu a^onb ne man^Bay niKoMy, aM naKynb Eo^ adnaMy cmapoMy KanecbniKy, Kamopu aKpuM KanodaK manuy i Bepa^na, ne nacnay mnacbniBae dyMKi, mmo6 en nanpo6aBay npyMKi na Bepa^nax BumMyniBa^ HcenoBuM KninKoM, da ne naMoM Bu^3uBaw, hk doci. - HaMy ne, - KaMa KanecbniK caM da cH6e, - Hcenb ^Hpd3eü, daK naBinen y3H^ MHK^ümyw 6Hpo3y; daBaü ocb nanpo6yeM. 3acmpy^aymu HcenoBu KninoK, npucmaBiy mo k Bepaupny, Mo^a npuMuMawnu, i 3anay cmuhkom mMop^a^b mo cwdu, mo mydu, mmopa3 cKap^ü, aM nanHHb - namoy duM 3 Bepauflna, da maK naxne, 6u 3 o^nimna. En ema daBaü daneü mMop^a^b da Hmw cKap^ü da xy^ü, aM noKynb no6 cmay MoKpu, da 3 Bepauflna icKpu nacunanicH. ffaK ocb hk nanaBeK 3naümoy cnpaBHdniBu a^onb; ma^du nwd3i ycwdu namymuni nepynoBae uflnno da 3aBHni cboückí a^onb i 3 mux nop cmani nynmaü muw" [n^TKeBin 2004, c. 298-299]. "fflmo6 6na^ananynna 6una c a^néM", 6inopycu nepeg po3nanro>BaHHflM BorHu^a mohmhuch nepyHoBi [Kocmh 1901, c. 33]. PociñcbKa nereHga Tarn® cBigwrb, ^o BoroHb gaHMM HrogaM caMMM BoroM, hkmm nocHaB Moro 3 He6ec Ha gonoMory nepmiM HroguHi, HKa nicHH BuraaHHfl 3 paro onuHMHaca y cKpyTHoMy cTaHoBu^i i He 3HaHa, hk npuroTy-BaTu co6i i'^y. Bor nocHaB 6HucKaBKy, HKa po3KoHoHa m 3anaHMHa gepeBo, i tmm noKa3aB cnoci6 go6yBaHHH BorHro [MaKcuMoB 1903, c. 223]. Chob'hHM po3pi3HHHM geKLHbKa BMgiB BorHro, 3 HKMX BoroHb, go6yTMM TepTHM gBox mMaTKiB gepeBa, BBa^aBcH HaMHucrimuM i Hañ6HaroTBopHimuM. HaToMicTb BoroHb, ^o bmhmk Big ygapy 6HMcKaBKM, nocigaB oco6HMBe Mi^e y HapogHoMy cBiTorHHgi. ^ CTpamHMM HeóecHMM BoroHb, hkum Bor Bpa^ae HeHucTy cuny i cTpaHye HeHecTu-bmx. KaM'HHi rpoMOBi cTpinu BÓMBaroTb HopTÍB, a BoroHb ix cnanroe. Bíh cbh^hhum. ^M nepmuM BoroHb, ^o noxoguB Big 6nucKaBKu, BBa^aBcH HaMBa^nuBÍmuM y cbítí, Hag3BMHaMHo huctum i cbhtum. iHogi Moro 3Banu ^ubum BoraeM - "mubu morn","živi oganj", "^p0M0BHa, ^p0M0Buma mubü Bampa", hk i 3ananeHuM TepTHM. Bíh BucTynaB og-HoHacHo 3HapHggHM i inocraccro rpoMoBep^H, ocKinbKu 6nucKaBKa Te^ ocMucnroBa-nacH hk nonyM'H: "nxpyH - ^^ma nnoMX, a^0Hb","a^0Hb-nxpyH,. Hag ^MM rpÍ3HuM BorHeM He MaroTb Bnagu hí HaKnyHu, hí BigbMu, hí HaBÍTb caMa HeHucTa cuna. racuTu Moro 3Bu-HaMHuM cnocoóoM noóoroBanucH, BBa^aroHu, ^o ^ - rpix. A6o m y3arani HeMo^nuBo, ocKinbKu TaKuM BoroHb He gacTb ce6e 3aracuTu. HacTo Ha ^ m He cnogÍBanucH. HaBÍTb y 3aMoBnHHHHX roBopuTbcH, ^o BoroHb 6nucKaBKu "Hixm0 HH M0M^^b yH^b". Bipunu, ^o bíh Ha6araTo rapHHÍmuM i B3arani Mae 3obcím He TaKÍ BnacTuBocTÍ, hk 3BuHaMHuM BoroHb, ag^e e HaragyBaHHHM nroguHÍ npo ii o6ob'h3ku nepeg BoroM. BnucKaBKa ocmuc-nroBanacH hk 3aci6 nogonaHHH gecTpyKTuBHux xaoTuHHux TeHgeH^M, hkí BuHuKaroTb y Kpu3oBux cuTya^Hx, hk 36poH rpoMoBep^H, oco6nuBe BTÍneHHH HagnumKy He6ecHoi cunu, rHÍBy, arpecuBHocTÍ, cKepoBaHoi npoTu HeHucTÍ Ta HenpaBegHux nrogeM. Konu nepyH, hkum po3'1'3^ae no He6y Ha BorHHHÍM KonicHu^, 6aHuTb, ^o nrogu rpimaTb, He nHKaronucb Moro rpoMy, to, 6a^aronu noKapaTu Hepo3KaHHÍcTb cMepTHux, nycKae 6nuc-KaBuHHy cTpiny, HKa 3 BorHeM nagae Ha 3eMnro. no^e^a, BuKnuKaHa hum, po3rnHgana-ch hk 3HaK Bo^oi nacKu, yBaru, ToMy ii He Mo^Ha 6yno racuTu, xi6a ^o MonoKoM a6o xni6HuM KBacoM. iHogi npucunanu nicKoM, 3eMnero hu cinnro, ane HÍKonu He nunu Bogy. Big Hei' nonyM'H Hane6To Morno po3ropÍTucH ^e cunbHime. A He6e3neKa nonuHana 3a-rpo^yBaTu He nume 6yguHKoBÍ, ane m Moro rocnogapeBÍ. Ha Hboro HecnogÍBaHo Morna BnacTu Konoga i noKanÍHuTu a6o b6utu. IcHyBano nepeKoHaHHH, ^o pHTyBaTu nrogeM hu 6ygÍBni, y hkí Bgapuna 6nucKaBKa (b ToMy Hucni i pHTyBaTu xygo6y Í3 npuMÍ^eHHH, oxonneHoro BorHeM), He6e3neHHo M rpimHo, ocKinbKu ^ o3HaHano 6 cnpoTuB Bo^iM Boni, a i'M 3aB^gu Tpe6a KopuTucH. IHogi 3a6opoHy noHcHroBanu M tum, ^o TaM ropuTb 3a6uTuM HopT, hkum, 3HaroHu, ^o nepyH nro6uTb nrogeM, xotíb cxoBaTucH b nrogcbKoMy ^uTni. BBa^anocH, ^o TaKa no^e^a noxoguTb 6e3nocepegHbo Big Bora, ii cnpuHuHuna cuna Bo^a. ToMy puTyanbHÍ o6xogu Manu Ha MeTÍ He 3aracuTu ii, a TÍnbKu noKanÍ3y-BaTu, He gonycTuTu nomupeHHH BorHro Ha ÍHmi o6ímcth. I3 3ananeHoi 6ygÍBni HÍHoro He 6panu, a hk^o noHuHanu buhocutu peHÍ, to cnig 6yno, npuHaMMHÍ, 3anumuTu Ha cBoeMy míc^ cTÍn. Togi BoroHb Mo^e M caM 3racHyTu. Mk^o Bor 3axoHe, to b Te ^ MÍ^e BnyHuTb ^e ogHa 6nucKaBKa i 3aracuTb. 3a BTpaTu BÍg TaKoi no^e^i Bor ^egpo BuHa-ropog^ye. CnpuMManu ii 3 po3HyneHHHM i 6naroroBÍMHoro noKoporo, HeKaroHu, goKu Bce gepeB'HHe 3ropuTb a6o go^ caM 3anne BoroHb. y ^ogHoMy pa3Í He Mo^Ha 6yno KpuHaTu M 3huhhtu myM. HaBÍTb guM TaKoro BorHro BBa^aBcH 6narogaTHuM gnH nroguHu. Mic-Kygu BnyHuna 6nucKaBu^, B3arani Bu3HaBanucH huctumu, cbhtumu i BmaHoByBa-nucH, Ha hux cnpaBnHnucH oco6nuBÍ ypoHucTÍ o6pHgu, npuHocunucH ^epTBu. Ix no3Ha-Hanu c^e^M^iHHMMM TonoHÍMaMu (nepyHoy moct, nepyHoBa rapa, nHpyHKa, nepyHoBa xa^a), BenuKuMu KaMeHHMu. Ha míc^ 6yguHKy, cnaneHoro "nxpyHaMÍ", He 6ygyBanu HoBe ^uTno. Bhocutu y gÍM BoroHb, hkum buhuk BÍg ygapy 6nucKaBKu, 6oHnucH i bcí-nHKo yHuKanu. npoTe nogeKygu ^e goBro 36epiranacH puTyanbHa npaKTuKa, 3rigHo 3 HKoro, Konu BgapHB rpÍM i cnanaxyBaB BoroHb, BÍg Hboro o6HoBnroBanu BorHÍ y 6yguH-Kax cenu^a. Konu 6nucKaBKa BnyHana b gepeBo, i boho 3aropanocH, to b ceni racunu BoroHb, i bcí Mmnu, ^o6 y3HTu BorHro He6ecHoro. "Mubu a^0Hb" BÍg 6nucKaBKu, hk i goöyTMM TepTHM, B^MBaBCH gna npunanroBaHHa HOBOHapog^eHux cBiöcbKux TBapuH - TenaT, nomaT - ^o6 yöeperm ix Big MO^nuBoro y roHOMy B^i 3ypoHeHHa [MaKcu-mob 1903, c. 204-210; 3eneHuH 1991, c. 132, 424; ^^uneB ckum 1844, c. 42; flpeBnaHcKuö 1846, c. 17; KpaHKöBCKMÖ 1874, c. 150; flo6poBonbcKuö 1894, c. 23; BorgaHOBuH 1895, c. 76; Federowski 1897, s. 248; Werenko 1896, s. 198; ^uBonucHaa Poccua 1993, c. 267; Hmkm^ opoB ckmm 1897, c. 176, 212; PoMaHoB 1912, c. 273; Moszynski 1928, s. 159; Co6o-tobckum 1918, c. 24; Cep^nyTOBcKuö 1909, c. 45; Cep^nyToycKi 1998, c. 32; 3a6a6oHbi 1972, c. 13; 3aMOBbi 1992, c. 34, 38-41; HeHagaBe^ 1996, c. 96; HeHagaBe^ 2002, c. 57-60; HeHagaBe^ 2006, c. 40; 3aÖKoycKi, fly^bm 2001, c. 71; naTKeBiq 2004, c. 298-299, 333, 404, 445; ^ereHgbi i nagaHHi 2005, c. 319, 360, 367; CygHuK 1979, c. 232; ApxaHrenb-ckum 1853, c. 6; A^aHacbeB 1865, c. 267; 1868, c. 10; flanb 1996, c. 99; MamKuH 1862, c. 85; TpyHoB 1869, c. 7; MaKcuMOB 1890, c. 7; MBaHU^KUM 1890, c. 125; Kootmh 1899, c. 13; YmaKoB 1894, c. 197; HeycTynoB 1902, c. 118; HeycTynoB 1913, c. 247; Xapy3uH 1889, c. 146; KmHH 1901, c. 164; Xapy3MHa 1906, c. 151; BorarapeB 1916, c. 66-67; no-Te6Ha 1865, c. 276; Hy6uHcKuö 1872, c. 20-23; A.K. 1876, c. 60-61, 169-170, 251-252; Rulikowski 1879, s. 101; H.B. 1889, c. 265; BacunbeB 1895, c. 127; Zmigrodski 1896, s. 326; MaKapeHKo 1897, c. 247; ^M3Hb 1898, c. 461; MunopagoBuH 1902, c. 112; MBaHOB 1907, c. 165; CrpuncKuö 1924, c. 11; KpaBHeHKO 1927, c. 153; KpuMcbKuö 1930, c. 431; Bopo-naö 1993, c. 446; Kolberg 1964, t. 34, cz. II, s. 159; KunuMHUK 1994, c. 74; Tpa6aH 2002, c. 289; KaÖHgnb 2003, c. 111; Bapxon 2003, s. 53; Petrow 1878, s. 125; Gustawicz 1881, s. 139; Wierzchowski 1890, s. 189; Skrzynska 1890, s. 111; Polaczek 1891, s. 628; Zawilinski 1892, s. 254; Mätyäs 1893, s. 115; Magierowski 1896, s. 143; Czaja 1905, s. 215; Matusiak 1907, s. 88; Matusiak 1908, s. 46; Bystron 1917, s. 4; Jaworczak 1936, s. 111; Kolberg 1962, t. 3, s. 90; Kolberg 1962, t. 15, s. 181; Kolberg 1962, t. 17, s. 78, 153-154; Kolberg 1970, t. 42, s. 402; Kolberg 1967, t. 46, s. 462; Kolberg 1962, t. 7, s. 136; Bazinska 1967, s. 83; Gloger 1978, s. 171; Pelka 1987, s. 109; Slownik 1996, s. 291-293; BoHeBa 1994, c. 14, 17; TpojaHOBufr 1930, c. 126; ^op^eBufr 1958, c. 553; ^op^eBufr 1985, c. 132; Nodilo 1981, s. 154, 159; Schulenburg 1993, S. 248; Houska 1855, s. 182; Nahodil, Robek 1959, c. 88; Moszynski 1967, s. 486; Jakubikovä 1972, s. 257; Olejnik 1963, s. 269; Olejnik 1978, s. 143; ^o6aq 2004, c. 356; MBaHOB, TonopoB 1974, c. 91]. y 6inopycbKux Mi^ax Bor rpoMy nepyH noB'a3aHuö i3 go6yBaHHaM BorHro: BiH TpuMae b pyKax gBa BenuHe3Hi ^opHa, Tpe humu i Bgapae oguH o6 oguH; TepTaM i ygapa-mu BiH huhuto rpiM i Bugo6yBae 6nucKaBKy, nogi6Ho go Toro, aK OTpuMyroTb icKpu Big ygapy Kpu^ o6 KpeMiHb. ynaMKu ^opeH neTaTb Ha 3eMnro i Bpa^aroTb HeHucTy cuny aK cTpinu [BorgaHOBuH 1895, c. 76]. 3 BorHeM, öoro po3nanroBaHHaM i go6yBaHHaM cniB-BigHocuTbca i nuToBcbKuM nepKyHac [MBaHOB, TonopoB 1974, c. 95-96, 99, 116, 149; MBaHoB, TonopoB 1974a, c. 146, 151; ^ÖMac 2003, c. 373; Ciszewski 1903, s. 225-232; Kowalik 2004, s. 150-151, 153]. flocnig^yBam nereHgu npo noaBy BorHro BxogaTb go mupmoro ^UKny, eneMeHTu aKoro, He3Ba^aronu Ha neBHy pi3HocTaÖHicTb, 36iraroTbca b ronoBHoMy. B 6inopycb-Kiö Tpagu^i, Bigo6pa^eHiö y TeKcTax pi3Hux ^aHpiB, HiTKO npocnigKoByeTbca ocho-BHa cro^eTHa cxeMa npagaBHboro Mi^y npo 6opoTb6y Bora rpo3u nepyHa 3i cbo'm xToHiHHuM cynpoTuBHuKoM, 3oKpeMa, 3 HopToM. Mk^ö Mic^3Haxog^eHHaM nepyHa 3aKoHoMipHo e BepxHiö cBiT, tö HopT nocTiÖHO nepe6yBae BHu3y, Kono KopeHiB CBiTo-Boro flepeBa. TaKuM flepeBOM y 6inopyciB e gy6 a6o ^ aceH. nepyH nepecnigye cBoro B'roHKoro cynocTaTa, aKuö BpemTi-pemT xoBaeTbca nig flepeBOM. Togi rpoMOBep^e^ ypa^ae noro cBoero 36poero - 6nucKaBKoro. BiH ygapHe no flepeBy, 3ananroronu noro. TaK noHMHaeTbCA nepmun rpo3oBun nuBeHb. OaKTu, ^o 3acBigqyroTb cTapogaBHicTb ^oro cro^eTy, npocnigKoByroTbcH y 6anTiftcbKiM Ta iHmux cnopigHeHux iHgoeBponeft- CbKMX Tpagu^Hx. BanTu Tarn® Bipunu, ^o BoroHb 6yB npuHeceHun Ha 3eMnro nepKyHacoM nig nac 6ypi [ruM6yTac 2004, c. 214]. Oco6nuBy ^KaBicTb craHoBuTb 3ragKa npo noxog^eHHH BorHro y BegincbKoMy KoHTeKcri, hkum 6araTo b noMy 36iraeTbcH i3 cro^eTHoro cxeMoro HaBegeHux 6inopycb-kmx nereHg npo giHHHH rpoMoBep^H: yo hatvahim arinat sapta sindhun, yo ga udajad apadha valasya, yo asmanor antar agnim jajana, samvrk samatsu sa janasa indrah "Xmo, b6ubmu dpaKoua, nycmuB cmpyMeuimu ciM piK, xmo BmnaB KopiB, ycyuyBmu Bany, xmo nopoduB Bo^oHb MiM dBox KaMeuiB, mou, xmo xanae 3do6un y 6umBax, - mou, o nmdu, Iudpaf' (PurBega II, 12. 3) [MBaHoB, TonopoB 1970, c. 343; MBaHoB, TonopoB 1974, c. 43, 95-96, 100-101; MBaHoB, TonopoB 1974a, c. 151; PurBega 1989, c. 249]. Bor rpo3u Bpa^ae cboix geMornraux npoTUBHUKiB 6nucKaBKoro, BorHeM, nopog^eHUM Mi^ gBox KaMeHiB-^opeH, hkum Hagani cTae Hag6aHHHM nrogcTBa. ^opHo Bora rpoMy 3ragyeTbcH y 3aKnuHaHHHx hk MoryTHH 36poH npoTU xtohwhux icToT (ATxapBaBega II 31. 1) [At-xapBaBega 1976, c. 95]. rpoMoBep^e^, nogonaBmu gpeBHboro 3MiH, cTBopuB BoroHb pa3oM 3 iHmuMU ^uttgbumu 6naraMu: Indro... ajanad... suryam u§asam gatum agnim (PurBega III 31. 15) [MBaHoB, TonopoB 1974, c. 100; PurBega 1989, c. 320]. iHogi Begin-cbKun Bor rpoMy npHMo oToTo^HroBaBcH i3 BTineHHHM BorHro. OcKinbKu KaMeHi-^opHa cniBBigHocunucH 3 HonoBiHuM i ^hohum HananoM, to Bugo6yBaHHH BorHro po3yMino-ch hk aHanor Hapog^eHHH ^uboi icToTu. 3 ^ei tohku 3opy cTaHoBnHTb iHTepec 6ino-pycbKi, xopBaTcbKi n cep6cbKi Bu3HaneHHH BorHro, 3ananeHoro 6nucKaBKoro, hk ^uboto, cBHToro. y BcecBiTi BegincbKoi nroguHu yci BuguMi ^opMu BorHro, b ToMy nucni 6nuc-KaBKa y noBiTpHHoMy npocTopi i BoroHb Borau^a Ha 3eMni, cyTb He ^o iHme, hk npo-hbu eguHoro BorHro, Arai, HKoMy npuHocunu ^epTBu. ArHi po3rnHgaBcH hk cyKynHicTb ycix, 3eMHux i He6ecHux, ^opM BorHro. no6yTyBano TaKo^ yHBneHHH, ^o BoroHb ArHi - 6paT-6nu3HroK IHgpu, y hux cninbHun 6aTbKo i pi3Hi MaTepi (PurBega VI, 59. 2) [PonaH 1993, c. 236; CeMeH^B 1981, c. 79; Kramrish 1962, p. 155, 160; MBaHoB, TonopoB 1974, c. 96, 219; Jurewicz 2001, s. 98; PurBega 1995, c. 158]. nogonaHHH geMoHa BpiTpu nopiBHro-eTbcH i3 po36uTTHM gepeBa 6nucKaBKoro (PurBega II, 14. 3), TpoMoBep^e^ po3Tpo^ye gepeBa i B6uBae geMoHiB: vi vr^an hanty uta hanti rak^aso (PurBega V, 83. 2) [MBaHoB, TonopoB 1974, c. 41, 98; PurBega 1989, c. 252; PurBega 1995, c. 85]. 3rigHo 3 6inopycbKuMu Mi^aMu, rpo3oBe nonyM'H Bigirpano TaKo^ yKpan Ba^-nuBy ponb y BuHuKHeHHi cBiTy. Konu cBiT ^e TinbKu nonuHaBcH, Hige Hinoro He 6yno. Bcrogu 6yna MepTBa Boga, a nocepeg Hei crupnaB Hi6u HKuncb KaMiHb, a6o^o. nepyH, TpuMaronu y pyKax ^opHa, BgapuB KaMeHeM o6 KaMiHb i BuKnuKaB 6nucKaBKy. OcKonKu neTinu Ha 3eMnro, hk cTpinu. OguH 3 ynaMKiB noTpanuB y Ton KaMiHb, i 3BigTu bucko-nunu Tpu icKopKu: 6ina, ^oBTa n nepBoHa. Ynanu icKopKu Ha Bogy. Big ^oro Boga bch cKanaMyTunacH, i cBiT noMyTuBcH, hk xMapu. A Konu Bce nocBiTnino, BigginunacH 3eMnH Big Bogu. A ^e nepe3 geHKun nac 3apogunocH BcHKe ^utth i Ha 3eMni, i y Bogi. I nicu, i TpaBu, i 3Bipi, i pu6u, a noTiM i nonoBiK 3aBiBcH [.HereHgbi i nagaHHi 2005, c. 32, 76]. BigoKpeMneHHH Big He6a Bogu i po3gineHHH Bogu 3 cymero, a hk HacnigoK, po3'egHaHHH He6a i 3eMni - ^ TunoBi gii rpoMoBep^H-geMiypra, HKi KnagyTb nonaTOK ynopHgKy-BaHHro BcecBiTy. KocMoroHiH ^ BegincbKa, hk 11 iHTepnpeTyroTb gocnigHuKu, e gy^e nogi6Horo, ocKinbKu npunycKae gBi cragii. nepma 3 hmx CTaHoBMTb co6oro eTan Hegu^epeH^fto-BaHoi egHocTi. Ha ^m CTagii icHyBanu nnme nepBicHi KocMiHHi Bogu, HKi Hecnu b co6i 3apogoK ^utth. 3 gHa KocMiHHux Bog nigHHnacH rpygKa 3eMni i, nocTynoBo po3poc-TaroHucb, nepeTBopunacH Ha ropy a6o cKenro, ^o nnaBana noBepxHero Bog i He Mana TBepgoi onopu. Ha ^0My nepma cTagiH 3aKiHHyeTbcH, i, hk cnpaBegnuBo 3ayBa^yeTb-ch, 11, BnacHe, He Mo^Ha HaBiTb Ha3BaTu Mi^oM TBopeHHH, ToMy ^o, hk i b 6inopycbKux BipyBaHHHx, neBHi Bu3HaHeHi cTuxii Ha noHaTKy B^e icHyBanu. ^ He cTBopeHHH, a, cKopime, onuc MicruHHoi caMocTiMHoi eBonro^i BuxigHoi cTuxii 6e3 BTpyHaHHH geMiyp-ra, HKa He niggaeTbcH onucy 3a gonoMororo 6iHapHux ono3u^ft, ocKinbKu b Hift He 6yno gu^epeH^ftoBaHocTi. He 6yno HiHoro - Hi He6a, Hi 3eMni, Hi gHH, Hi H0Hi, Hi cBiTna, Hi, cTporo Ka^ynu, niTbMu. ^ gonoHaTKoBa cTagiH onucyeTbcH y riMHax 3a gonoMororo B^MBaHHH HeraTuBHux cyg^eHb i noHHTb. ^KaBo, ^o BegiftcbKi pimi po3yMinu, ^o ixHi KocMoroHiHHi po3gyMu Te^ MaroTb Me^i i ^o cTaHoBneHHH 6yTTH, Mo^nuBo, He-ni3HaBaHe. flpyra cTagiH KocMoroHii noHuHaeTbcH 3 Hapog^eHHH 3a Me^aMu nepBicHoro cBi-Ty Bora rpoMy iHgpu (He 3oBciM 3po3yMino, hkum huhom) 3 tum, a6u nopoguTu gyanb-hum kocmoc. 3BigKu BiH npuftmoB, He noBigoMnHeTbcH, i TeKcTu HiHoro 3 ^oro npuBo-gy He roBopHTb, ocKinbKu oHeBugHo, ^o npuxig Hi3BigKu cTaHoBuB HacTuHy Moro cyT-HocTi. OcHoBHa ^yHK^H IHgpu nonarana b ToMy, ^06 3i cBiTy noTeH^MHoro cTBopuTu cBiT peanbHuft. I BiH ygapoM Bag^pu BuKnuKae go ^utth cBiT, ge e KoHTpacT cBiTna i TeMpHBu, gHH i H0Hi, ^utth i cMepTi. i b 6inopyciB, BoroHb 6nucKaBKu BuKoHye TyT HcKpaBo Bupa^eHy Kpea^oHicTcbKy ^yH^iro. BiH TBopuTb gBoi'cTuft cBiT iHguBigyani-3oBaHux ^opM 3 Hegu^epeH^ftoBaHoro xaocy. CBoero cunoro iHgpa po3BoguTb gBi c^e-pu cBiTo6ygoBu, He6o i 3eMnro, 3po6uBmu ix BuguMuMu ogHe gnH ogHoro, i go3Bonae C0H^ro cBiTuTu (PurBega I 51. 10; I 52. 12; I 56. 6; II 13. 5; VIII 3. 6; X 89. 1-4, 13; X 113. 5) [PurBega 1989, c. 66, 68, 73, 251; PurBega 1995, c. 283; PurBega 1999, c. 233-234, 270]. y BeguHHux riMHax Bigo6pa^eHa caMe gpyra KocMoroHiHHa cTagiH. KocMoroHiHHa gi-HnbHicTb IHgpu Mae gBa acneKTu. no-nepme, BiH B6uBae 3MiH BpiTpy, ^o BTinroBaB cuny cnpoTuBy ropu, nepBicHoro narop6y, npo6uBmu hkum, IHgpa gae 3eMni TBepgy onopy i ogHoHacHo 3BinbHHe Bogu, cKyTi gpaKoHoM, Ta BunycKae BoroHb, yB'H3HeHuft b narop6i. TaKuM huhom 3giftcHroeTbcH nepexig Big HeHBHoro go HBHoro, Big aMop^Horo go bu-3HaneHoro. OcTpiB-cKenH y npaoKeaHi, po3KonoTuft IHgporo y MoMeHT cTBopeHHH cBiTy, cTae ^HTpoM cBiTonagy, hkum BuHuKae 3 Hboro. Mi^e, 3 HKoro yTBopunacH 3eMnH, no-HuHae ^yHK^oHyBaTu b HKocTi ii onopu. BuHuKnu rpo3oBi xMapu, HKi 3aKny6oHunucH Hag cKenero, cTano TeMHo, ane noTiM 3iftmno coh^, i y BcecBiTi nocTano cBiTno. He-npornagHa niTbMa po3ciHnacH. Po3nunucH Bu3BoneHi piKu. nicnH Toro, hk ^uTTegaftHi cunu 6ynu 3BinbHeHi, nepBicHuft cBiT cTaB caKpanbHoro 3eMnero, HKa, po3mupuBmucb, pa3oM 3 He6oM yTBopuna napy nonoBuH KocMocy, i Ha ii noBepxHi 3'HBunocH ^utth. 3a3eneHinu nicu i TpaB'HHucTi pocnuHu, nonanu icHyBaTu HucneHHi ^uBi icToTu. Tinb-ku Togi HapoguBcH nepmuft 3eMHuft MemKaHe^. no-gpyre, cTBoproronu gyanbHuft cBiT, po3'egHyronu He6o i 3eMnro, HKi 6ynu 3nuTi, Ta yKpinnroronu ix oKpeMo, rp0M0Bep^e^ TuMHacoBo igeHTu^iKyeTbcH 3 KocMiHHuM cToBnoM, to6to ^HTpoM BcecBiTy. y poni Bici cBiTo6ygoBu BiH BucTynae TinbKu b MoMeHT TBopeHHH. ^ nigTBepg^yeTbcH 6inbm ni3HiM HoBopiHHuM puTyanoM, Konu Ha KopoTKuft Hac Ha HecTb IHgpu hk 3acH0BHuKa cBiToBoro nopagKy BcTaHoBnroBanu cT0Bn. npoTHroM Toro Hacy, goKu BiH ctohb i M0My noKnoHHHMCH, bîh BBa^aBca toto^hum iHgpi i iHogi no3HanaBCH Moro iMeHeM. Hepe3 ciM gHiB ^m CTOBn npu6upanu i œuganu b pi^Ky, ^o nigKpinnroe npuny^eHHH npo ce30HHMM xapaKTep ^oro 6ora [OmôeHMH 1968, c. 18, 29, 31, 34-37, 52-53; Kramrish 1962, p. 140-143, 147, 153; 1963, p. 271-273; Brown 1942, p. 86, 92, 95-97; BpayH 1977, c. 287-290; KëMnep 1986, c. 14, 17-18, 28-37, 75, 119-125, 156-162, 183-184; ^^uage 1998, c. 34-35; ^^uage 2002, c. 191, 209]. Cnigu apxaÏHHMX BipyBaHb, mo^hubo, npocre^yroTbcH y TOMy ^aKTi, ^o cTOBn y TonoHHift KaMepi gBoxapycHux roHHapHux ropHiB, nomMpeHMX Ha MorunboB^um Ta niBgeHHOMy cxogi Brre6^uHu, a TaKo^ Ha 3axogi Binopyci, 3BaBca "cmoy6" " cnyn", " ô3h-ôok' [MunroneHKoB 1983, c. 88], "ded" [BepeHun, KpuBU^Kuft 1968, c. 181]. Bmotîb 6inopycbKMX rornapiB, hkuM BKa3ye Ha BTpynaHHH ypaHiraux cun y ïxHro po6oTy, Mae noBHy napanenb y BegiftcbKiM Tpagu^ï, ge roBopuTbca, ^o iHgpa po3KonoB cKenro 6nucKaBKoro, "30bcîm hk hobuû ^opw,UK, (bibhéda girim navam in na kumbham) (PirBega X 89.7) [PurBega 1999, c. 233]. BnucKaBKa aco^roœanacH 3 igeero 3apog^eHHH ^mbmx icTOT [reHOH 2002, c. 203], ^o HeManoBa^Ho npu po3raagi Mi^onoriHHux yHBneHb, noB'œaHux 3 BorHeM roH-napcbKoro ropHa, b HKoMy BunanroœaBcH rauhhhuft nocyg. y 6inopyciB, hk i b rnmux chob'hh, cuMBoni3a^H nocygy fpyHTyBanaca Ha ftoro aHTponoMop^i3a^ï. Diuhhhum rop^MK po3raagaBcH hk nogi6Ha go nroguHu icToTa, HagineHa pogo-cTaTeBMMM o3Ha-KaMu, KoTpa noBToproe Bci ocHoBHi eTanu nrogcbKoro ^utth: Buy h Ha KanaH^i, 6uy h Ha KpyMaH^i, 6uy Ha naMapu, 6uy Ha 6a3apu; Manadu 6uy - yBecb cBem KapMiy, a hk cmapu cmay - nenHHawu,a cmay; àaBHnocH m naMÎpa^ - HeKaMy Kac^û naxaBa^ [CaxyTa 1980, c. 58]. BunanroBaHHH nocygy y 3aragKax oToTo^HKœanoca 3 no^e^ero, a b 6mopycbKift Kynbrypi Haft6inbma KinbKicTb noBip'ïB i o6pagiB 6yna noB'œaHa i3 no^e^aMu, 3ana-neHUMu 6nucKaBM^K> nepyHa [^o6an 2004, c. 356-357]. HaBiTb 3BunaftHi 3aMMaHHH npunucyBanu Moro rHiBy [Kocuh 1901, c. 33]. DiuHHHa nocyguHa, Hapog^eHa y Bor-Hi ropHa - "Ha naMapu", cnyryBana cumboM^hum o6pa3oM nroguHu, penpe3eHTyronu ïï y HucneHHUx puTyanbHUx npaKTUKax [Banog3iHa 1999, c. 64-77; Banog3iHa 2004, c. 116-117; Banog3rna, CaHbKo 2004, c. 388-389]. PeniKTU aHanori^HUx yHBneHb npocnigKoByroTbca i b rnmux cnoB'HHcbKUx Hapo-giB. nonbcbKi rornapi y Haprnft Beci Kocb^nbHift Bh^octo^koto BoeBogcTBa Bipunu, ^o rpiM nig Hac rpo3U cnpunuHHe nycKaHHH rop^UKiB y BorHi [Kieselski 1968, s. 220]. nonbcbKa nereHga, 3anucaHa Big romapiB 3 ^oH^Ka OpguHa^Koro .Hro6nmcbKoro BoeBogcTBa, po3noBigae, hk 6yna 3ninneHa nepma MucKa. Tocnogb Bor gaB nroguHi po3yM, ^o6 o6namToByBana co6i ^utth b cBiri. OguH nonoBiK cnniB 3 Bep6oBoro rinna KomuK i o6ninuB ftoro rauHoro. Konu Bce Te bucoxho, to BiH 3Mir TpuMaTu b ^oMy KomuKy Hanoï Ta iHmy no^uBy. OgHoro pa3y y Moro KypiHb 3 XMu3y Bgapuna 6nucKaBKa (pieron). Bce 3ropino. Ta Bep6a 3 KomuKa - Tarn®, a rnuHa, HKoro BiH 6yB o6ninneHuft, y ToMy BorHi Bunanunaca, i 3po6unaca 3 Hboro TaKa MucKa. Buhbuhoch, ^o to M^Ha nocyguHa. BigTogi nrogu ninunu co6i nocyg, ane Mycunu 3aB^gu npocuTu Bora npo 6nucKaBKu, ^o6 y BorHi nocyguHu Bunanunuca. ni3Hime, hk HaB^unuca po3nanroBaTu BoroHb, to B^e BunanroBanu caMi, 6e3 6nucKaBKu [Czubala 1970, s. 292-293; Czubala, Czubalina 1980, s. 50]. noHBoro 3BunaftHoro BorHro 3aBepmyeTbca Mi^onoriHHa go6a. y 6inopycbK0My ^onbKnopi Mi^iHHuft Hac HaftHacTime TpaHc^opMyeTbcH, nocTa-roHM 3onoToro go6oro, Konu HoBocTBopeHuft cBiT ^e He po3TpaTMB 6o^ecTBeHHy eHep-riro i b ycix cboix npoHBax xapaKTepu3yBaBca HaggocTaTHicrro i npucyTHicTro BoriB, HKi xogunu no 3eMni ft aKTMBHo 6panu yHacTb y ^MTTi nrogeft. YnopHgKyBaHHH TogimHboro cBiTy 6yno HacnigKoM nepeMoru rpoMoBep^H-geMiypra Hag xToHiHHMM cynpoTMBHM-kom, HKuft yoco6nroBaB nepBicHuft xaoc. HacoBa BigganeHicTb ^oro Mi^iHHoro MMHy-noro BugaeTbca gocuTb yMoBHoro, ocKinbKM boho noBcHKHac BigHoBnroeTbcH 3a gono-Mororo o6pagoBocTi [Tpbi^aHeHKaBa 2003, c. 91-92; flo6aH 2003, c. 9]. YcBigoMneHHH noHaTKoBoro, npiMopgianbHoro Hacy hk go6u TBopeHHH cTano ^aKTopoM aKTyani3a^i ocHoBHoro Mi^y npo 6opoTb6y nepyHa 3 ftoro xToHiHHMM npoTMBHMKoM y BipyBaHHHx 6inopycbKux roHHapiB. 6aHMM0, BoroHb y roHHapHoMy ropHi - to nepBicHe, gaHe rpoMoBep^eM He-6ecHe nonyM'a, cTpamHe ft He6e3neHHe y cuny cBoei noToft6iHHocTi, HKe He npuHocuTb HiKoMy go6pa. Boho npoTucTaBnaeTbca BorHro "cb0uckamy", "cnpabxdnibamy" - bto-puHHoMy i npupyHeHoMy. OgHaK caMe ^ft rp030Buft BoroHb, ^o 36epirae cBift geMiyp-riHHuft noTeH^an i Hag hkmm He Mae Bnagu 3no, BMKopucroByeTbcH roHHapHMM. TaKMM hmhom b o6pagi BMroToBneHHH nocygy BigTBoproeTbcH apxeTunoBuft npe^geHT, o6pag npoeKTyeTbca y caKpanbHuft Hac nepmonoHaTKy. OgHa 3 ochobhmx napagurM kocmo-roHiHHux Mi^iB - no cyTi, He cTBopeHHH, a 3MiHa Toro, ^o icHyBano paHime, ane no3a HacoM, cTaTMHHo. npu6nu3Ho TaK ycBigoMnroBaBca ft npo^c BunanroBaHHH rnuHHHux Bupo6iB. CTaTMHHe 6yTTH, ^o6 yBiftTM, po3ropHyTuca b guHaMiHHuft npo^c nopo-g^eHHH, Mae oTpuMaTM nomToBx Big geMiypra, HKuft ^ocb po3'egHye, cTBopro e ^ocb H0Be, HanpuKnag, BoroHb, y xogi nepmoro BenuKoro ^epTBonpuHomeHHH, BenuKoro 6oro 3 nepBicHMMM cunaMM, HKi ceMaHTM3yroTbcH hk xaoTMHHi, hk 3arpo3a rapMoHii. BnucKaBKa BucTynae 3aco6oM 3M^HeHHH ft nigTpuMKM cTBopeHux eneMeHTiB yHiBep-cyMy, ftoro ohm^hhh i BnopagKyBaHHH. roHHapcbKe ropHo Ha6yBae yHacnigoK ^oro cTaTycy oco6nuBo HucToro, cBHToro Mic^. Boho cTae HacTMHoro 0praHi30BaH0r0 cBiTy. TaKe cniBBigHeceHHH BorHro hk geMiypriHHoro HaHana 3 6nucKaBKoro BigoMe y Haft6inbm nepBicHux KynbTypax [fopnoT 1995, c. 352]. nopiBHHHHH Tpagu^ftHux 6inopycbKux BucnoBnroBaHb npo nonyM'a roHHapHoro ropHa Ta Bcboro Kona yHBneHb npo BoroHb, peKoHcTpyftoBaHMx gnH KpuBcbKoi KynbTypHoi Tpagu^i Ha nigcraBi BenuKoi KinbKocTi pi3Hux puTyanbHux gift, 3a6opoH, npunuciB, pi3H0MaHiTHux caKpanbHux TeKcTiB, ^o no6yTyBanu b MMHynoMy ft HacTKoBo 36epernucH go HMHimHboro Hacy, a Tarn® K0Mn-neKcy yHBneHb, xapaKTepHux gnH iHmux cnoB'HHcbKux eTHoKynbTypHux Tpagu^ft, bm-HBnHe, ^o KpuBcbKi yHBneHHH e HaftapxaiHHimuMM, bohm 3 Haft6inbmoro noBHoToro 36e-pernu gyx cnoB'HHcbKoro h3mhhm^b a. fltiepaTypa A.K. rpoM u MonHMH // PyKoBogcTBo gnH cenbcKux nacrapeft: ^ypHan, M3gaBaeMbift npu KueBcKoft gyxoBHoft ceMMHapuu. - KueB, 1879. - T. 3. - N 38 (16 ceHT.). - C. 59-64; N 42 (14 okt.). - C. 169-174; N 45 (4 hoh6.). - C. 250-258. ApxaHrenbcKuft A. Ceno flaBmuHo // BecTHMK PoccuftcKoro reorpa^MHecKoro o6^ecTBa. - CaHKT-neTep6ypr: Tunorpa^MH ^gyapga npa^, 1853. - T. 7. - Pa3g. 3. - C. 1-80. ATxapBaBega. M36paHHoe. - MocKBa: HayKa, 1976. - 406 c. A^aHacbeB A.H. ^o^TUHecKue Bo33peHua cnaBHH Ha npupogy: OnbiT cpaBHuTenbHoro M3yHeHMfl cnaBHHckuX npegaHMM u BepOBaHMM, B CBH3M C MM^MHeCKHMM CKa3aHMHMM gpyrux pogcTBeHbix HapogoB. - MocKBa: u3gaHue K. CongaTeHkoBa, 1865. - T. 1. - 800 c.; 1868. - T. 2. - 787 c.; 1869. - T. 3. - 840 c. BoraTbipeB n.r. BepoBaHua BenukopycoB ffleHkypckoro ye3ga [ApxaHrenbckon ry6epHuu] // ^TH0^pa^uHecK0e o6o3peHue. - MocKBa, 1916. - N 3-4. - C. 42-80. BorgaHoBMH A.E. nepe^uTKu gpeBHero Mupoco3ep^Hua y 6enopyccoB: ^THO^pa^uHecKUM onepk. - rpogHa: ry6epHckaa Tunorpa^ua, 1895. - 186 c. BoHeBa TaHH. HapogeH cBeTorneg // Pogonu. Tpagu^uoHHa gyxoBHa u co^uanHO-HopMaTMBHa KynTypa. - Co^ua: ETHorpa^cku MHcruTyT c My3en - BAH, 1994. - C. 7-50. 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Despite the fact that the mythological and cosmological aspects of traditional culture are no less important than the practical ones, their semantics remain off screen. It remains unknown what exact meaning was invested in these symbols, why one or another phenomenon, item, or operation held such weight in the ceremony. The specific character of the traditional perception of the pottery kiln fire in the context of the mythopoetical model of the world among the Belarusians is the object of the present study. The element of fire in the context of the most ancient crafts has not been the subject of detailed consideration, although in the pottery crafts of the Belarusians, as among other Slavs, a great deal of proper ceremonies, beliefs, and proverbs have been preserved. They are useful materials for studies, including the Balto-Slavonic and Indo-European outlook. The archaism of the Belarusian data accords with the thesis on their especial relationship to the reconstruction of Slavonic paganism. When the ware cracked in a furnace during its firing, potters in many centres of Western Belarus (in particular, the villages of Zabortsy of the Ostrovitsy District, Zablotye and Kurniki in the Smorgon District of the Grodno Region, Butsevichi and Filipovtsy in the Postavy District, Zamoshye near Volkolata in the Dokshitse District of the Vitebsk Region, Syerody in the Myadel District of the Minsk Region) told that it was struck by lightning (piarun bijec). Then, the flame in the kiln was identified with lightning, the stormy fire of Perun, which was interpreted as an emanation of this God. According to the beliefs of the Belarusians, stated in folklore texts autonomous and independent of the ceremony of pottery-making, the first fire that the ancestors began to employ descended from heaven from a lightning bolt (piarun), with which the Thunder God (Bog, Piarun) hit a tree, trying to kill a devil. Later people learned to obtain fire by rubbing. The Slavs distinguished several kinds of fire, among which the fire that was obtained by rubbing together two pieces of wood was considered to be the most pure and salutary. By contrast, the fire that originated from a thunderbolt occupied an especial place in the folk world view. This is a fearful heavenly fire, with which God hits evil spirits and executes the unrighteous. The stone thunder arrows kill devils, and fire incinerates them. It is sacred. This first fire that was descended from lightning was considered to be the most important in the world, utterly pure and holy. Sometimes it was called the living fire (zywy ahon, zivi oganj, gromovna, gromovita ziva vatra), as the one obtained by rubbing as well. It acted simultaneously as the tool and the hypostasis of the Thunderer, because lightning was interpreted as a flame too: piarun - heta piomia, ahon, ahon-piarun. And the power of this dread fire cannot be wielded by warlocks, witches, or even evil spirits. They were rather afraid of extinguishing it in a standard way, considering it to be a sin. Or it was impossible, inasmuch as such fire does not allow itself to be extinguished. Often people were never expected to do it. Even in the incantations it was said that nobody can put out the fire of lightning (nichto nia mozec uniac). It was believed to be much hotter and to possess generally quite different characteristics to those of ordinary fire; after all, it was a reminder to man of his responsibilities to God. Lightning was regarded as a tool to overcome those destructive chaotic tendencies that appear in crisis situations, such as the weapon of the Thunderer, the special personification of the surplus of the heavenly force, ire, aggressiveness, directed against evil spirits and dishonourable people. When Perun, who drives around in the sky in a fiery chariot, can see that people sin, not being afraid of his thunder, then, desiring to punish the impenitence of mortal men, he shoots a lightning arrow, which falls firing to earth. The conflagration caused by it was considered to be a sign of God's kindness and care; therefore it was not allowed to be put out, except with milk or bread kvass. Sometimes it was filled up with sand, earth, or salt, but never quenched with water, which could supposedly make the flame burn much more intensively. And not only the house but also its owner would be threatened with danger. A log could suddenly fall on him and cripple or kill. There existed a belief that it was dangerous and sinful to save people or buildings that had been struck by lightning (including the rescue of cattle from a room caught on fire), because it could mean resistance to the God's will, and one always ought to submit to it. Sometimes the prohibition was explained with the opinion that the murdered devil was burning there, who, knowing that Perun liked humans, wanted to conceal himself in a human dwelling. It was considered that such conflagration originated peculiarly from the God, for it was caused by the God's might. Therefore ritual rounds were aimed not at extinguishing but only at localizing it, to permit no spreading of fire to other farmsteads. Nothing was taken from the burning building, and if they began to carry out their goods, they ought to leave, at least, a table in his place. Then the fire could go out by itself. If God wants, one more lightning bolt will strike the same place and extinguish it. God recompenses generously for losses from such conflagration. It was accepted with tender emotion and reverential resignation, waiting until all wooden objects had burned down or rain had doused the fire by itself. In no circumstances were screaming and making noise allowed. Even the smoke of such fire was considered to be beneficial for man. Places struck by lightning were generally accepted as pure, holy and worshipped; solemn ceremonies were celebrated on them, sacrifices were made. They have been designated by specific names (Pierunou most, Perunova hara, Piarunka, Perunova khashcha) and big stones. A new dwelling was not built in the place of a house burned out by lightning (pi-aruny). They feared to bring on a house fire, originating from a thunderbolt, and avoided doing so in every possible way. However, in some places a ritual practice was preserved for a long time. According to it, when thunder struck and fire flamed up, fires in the houses of a village were renewed from it. When lightning hit a tree, and it caught fire, in the village the fire was blown out, and everyone went to take the heavenly fire. This living fire (zywy ahon) from lightning, as one obtained by rubbing too, was used for the cauterization of new-born domestic animals - calves, colts - with the aim of guarding them against evil charms, possible at a young age. In Belarusian myths the Thunder God Perun is connected with the obtaining of fire: he holds two huge millstones in his hands, rubs them and strikes one against another; with friction and blows he makes thunder and produces lightning, just as sparks are fetched by striking of steel upon a flint. The flinders of millstones fly onto earth and hit the evil spirits like arrows. The Lithuanian Perkunas deals with fire, its kindling and obtaining too. The studied legends on the appearance of fire belong to the broader cycle, elements of which, without regard to some variances, coincide in the main details. In Belarusian tradition, represented in the texts of different genres, the basic plot scheme of the antique myth on the struggle of the Storm God Perun against his chthonic adversary, in particular, against the devil, can clearly be traced out. If the upper world naturally is the location of Perun, then the devil resides underneath, near the roots of the World Tree. Such a Tree among the Belarusians is an oak or else an ash. Perun pursues his nimble foe, who hides finally under the Tree. Then the Thunderer hits him with his weapon, a lightning bolt. He strikes the Tree, inflaming it. So the first stormy downpour begins. The facts, despite the extreme antiquity of this subject, can be traced out in the Baltic and other kindred Indo-European traditions. The Balts also believed that fire was brought to earth by Perkunas during a tempest. A mention of the origin of fire in the Vedic context, which coincides with the plot scheme of the quoted Belarusian legends on the acts of the Thunderer in many respects, is of especial interest: yo hatvahim arinat sapta sindhun, yo ga udajad apadha valasya, yo asmanor antar agnim jajana, samvrk samatsu sa janasa indrah; "Who, slaying the dragon, turned on the flow of seven rivers on, who turned cows out, having Vala eliminated, who has generated fire between two stones, that, who snatches loot in battles, - that, oh people, is Indra!" (RV II, 12. 3). The God of Storms hits his demonic adversaries with a lightning bolt, fire, generated between two millstones, which later on becomes the common property of mankind. The millstone of the Thunder God is mentioned in the incantations as a powerful weapon against chthonic creatures (AV II 31. 1). The Thunderer, defeating the ancient dragon, has created fire along with other blessings of life: Indro... ajanad... suryam u§asam gatum agnim (RV III 31. 15). Sometimes the Vedic Thunder God was directly identified with the personification of fire. Inasmuch as the millstones were sorted with male and female principles, then obtaining of fire was interpreted as an analogue of the birth of a living being. The Belarusian, Croatian, and Serbian definitions of fire, kindled by a thunderclap, as the living, holy one, are of interest from this standpoint. In the universe of the Vedic man all the visible forms of fire, including the lightning in airspace and the fire of the fireplace on earth, are nothing else than different manifestations of the unified fire, Agni, worshipped with offerings. Agni was considered as the totality of all forms of life, terrestrial and celestial. There also existed a conception that the Fire Agni was a twin-brother of Indra, since they have a common father but different mothers (RV VI, 59. 2). A victory over the demon Vrtra is compared with the crashing of a tree by lightning (RV II, 14. 3), the Thunder God smashes trees and kills demons: vi vr§an hanty uta hanti rak^aso (RV V, 83. 2). According to the Belarusian myths, the stormy flame has also played an extremely important role in the beginnings of the world. When the world had only just begun to exist, it was nothing nowhere. The lifeless water was everywhere, and there stood a kind of stone amidst it. Perun, holding the millstones in his hands, struck a stone upon a stone and generated lightning. Splinters flew to earth, as arrows. One of the flinders hit that stone, and three sparks fell from there: a white one, a yellow one, and a red one. Sparks fell on the water. That made the whole water turbid, and the world grew foggy, like clouds. And when everything grew lighter, earth separated from water. Different forms of life arose both on land and in water. Woods, herbage, animals, and fishes, and later a human appeared. The separation of water from heaven and the division into water and dry land, and the resulting separation of heaven and earth, are the typical deeds of the Thunderer as a demiurge who initiates the ordering of the universe. The Vedic cosmogony, as it is interpreted by researchers, is very similar, because it presupposes two stages. The first is a phase of an undifferentiated unity. At this stage only primeval cosmic waters, containing the embryo of life, existed. A clod of earth arose from the bottom of the cosmic waters and, increasing gradually in size, changed into a mountain or rock that floated on the surface of the waters and had no strong anchor. That completed the first stage and, in fact, cannot even be defined as the myth of creation, because, as in the Belarusian beliefs too, some elements already existed at the beginning. This is not creation but rather a description of the mystical self-dependent evolution of the primary element without any intervention of a demiurge, which defies description with the help of binary oppositions, since there was no differentiation in it. It was nothing - no heaven, no earth, no day, no night, no light, no darkness in the strict sense. This pre-initial stage is described in the hymns with the help of the use of negative opinions and concepts. It is interesting that Vedic r§i understood that their cosmogonical reflections also have limits and that the formation of being is, probably, unknowable. The second stage of cosmogony begins with the birth of the Thunder God Indra outside of the primeval world (it is not completely clear how exactly he was born) with the aim of generating the dual cosmos. Wherefrom he has come, it is not reported, and the texts tell nothing regarding this, because it is obvious that coming from nowhere formed a part of his essence. The main function of Indra consisted in creating the real world from the potential world. And with the blow of vajra he calls into being the world, where there is the contrast between light and dark, day and night, life and death. As among the Belarusians, the fire of lightning performs here the pronounced creationist function. It creates the twofold world of individualized forms from undifferentiated chaos. With his power Indra moves apart two spheres of the world structure, heaven and earth, having made them visible one for another, and allows the sun to shine (RV I 51. 10; I 52. 12; I 56. 6; II 13. 5; VIII 3. 6; X 89. 1-4, 13; X 113. 5). Just this, the second cosmogonical stage, is represented in the Vedic hymns. The cosmogonical activity of Indra has two aspects. First, he kills the serpent Vrtra, who personifies the resistance force of a mountain, of a primeval hill, having breached which, Indra gives to earth a strong bearing and simultaneously frees waters, bound by the dragon, and releases the fire, imprisoned in the hill. A transition from the cryptic to the overt, from the amorphous to the definite is realised in such a way. A rock of an island in the ancient ocean, broken by Indra at the moment of the creation of the world, becomes the centre of the world structure that originates from it. The place, from which earth has arisen, begins to function as its bearing. There emerged storm-clouds, which swirled above the rock, it got dark, but afterwards the sun rose, and light appeared in the universe. The impenetrable darkness dissipated. The released rivers flooded. After the discharge of vivifying forces, the primeval world became sacral earth that enlarged and along with heaven formed two halves of the cosmos, and life appeared on its surface. Woods and herbaceous plants turned green, numerous living beings began their existence. Only then was the first terrestrial inhabitant born. Second, creating the dual world, separating heaven and earth, which were joined, and fixing them separately, the Thunder God is temporarily identified with the cosmic pillar, that is the centre of the universe. In the capacity of the axis mundi he acts only at the moment of creation. It is corroborated with the subsequent New Year's rite, when in honor of Indra as founder of the world order, a pillar was erected. Throughout that time, while it stood and was worshipped, it was considered to be identical with Indra and sometimes was designated by his name. After seven days this pillar was removed and thrown into a river, which confirms the assumption of the seasonal nature of this god. Vestiges of archaic beliefs can probably to be traced in the fact that a pillar in the combustion chamber of two-tiered pottery kilns, prevalent in the Mahilyov Region and in the south-east of the Vitebsk Region as well as in the west of Belarus, was called stoub, slup, dziadok, died. A saying of Belarusian potters, which points towards the meddling of uranic forces in their work, has a direct parallel in the Vedic tradition, where it is said that Indra has split a rock with lightning, "just like a new pot" (bibheda girim navam in na kumbham) (RV X 89.7). Lightning was associated with the idea of the rise of living beings, which is of no small importance in the examination of mythological concepts connected with the pottery kiln fire, in which earthenware was fired. Among the Belarusians, as among other Slavs, the symbolization of earthenware was based on its anthropomorphism. A clay pot was considered a living creature resembling a human being, possessing gender and sexual characters, who reproduced all the main phases of human life. The firing of earthenware was identified with conflagration in riddles, and in the Bela-rusian culture the largest number of beliefs and ceremonies was connected with conflagrations ignited by Perun's lightnings. Even ordinary inflammations were ascribed to his wrath. A clay vessel, born in the kiln fire - in the conflagration (na pazary), as the riddles say - provided the symbolical image of man, representing him in numerous ritual practices. The relics of analogous conceptions can be traced among other Slavonic folks too. Polish potters in Czarna Wies Koscielna of Bialostok District believed that thunder during a storm caused the cracking of pots in the fire. One Polish legend, recorded from the potters from L^zek Ordynacki of the Lublin District, tells how the first basin was modelled. Mind was given by the Lord God to man to make his life in the world comfortable. One man wove a basket of willow twigs and covered it with clay. When everything had dried out, he could keep drinks and other eatables in this basket. Once his shelter of branches had been struck by lightning (pieron), all was burned down. The willow twigs of the basket also burned, and the clay it was covered with burned in that fire, and in such a way a basin was made of it. It turned out that it was a durable vessel. Since then people modelled their ware, but they had always to ask God for lightning to burn vessels in the fire. Later on, since they had learned to kindle fire, they burned it themselves, without the help of lightning. With the advent of ordinary fire, the mythical epoch was concluded. In the Belarusian folklore, mythical time transforms most often, appearing as the Golden Age, when the new-created world has not yet spent the divine energy and is characterized in all its manifestations by over-sufficiency as well as the presence of the Gods, who roamed the earth and took an active part in the life of human beings. The ordering of the then world was the consequence of the victory of the Thunderer as a demiurge over the chthonic antagonist, personifying primeval chaos. The temporal far-awayness of this mythical past seems to be rather relative, since it is constantly recommenced with the help of ceremonial rites. The perception of initial, primordial time as the epoch of creation became the factor of actualization of the basic myth of the struggle of Perun against his chthonic opponent in the beliefs of Belarusian potters. As we can see, fire in the pottery kiln is the initial heavenly flame, given by the Thunderer; it is frightful and dangerous owing to its appearance from the other world, which benefits nobody. It is opposed to ordinary fire (svojski, sprawiadliwy), which is secondary and tame. But just this stormy fire, which retains its own demiurgic potential and cannot be in the power of evil, is used by potters. An archetypal precedent is reproduced in the ceremony of pottery-making in such a way; the ceremony is projected in the sacral time of commencement. One of the main paradigms of cosmogonical myths is not the creation per se, but the change of that which has existed earlier, but timelessly and in stasis. The process of the firing of earthenware was understood approximately in this way too. The static being, in order to enter, develop into the dynamic process of generation, has to get a powerful incentive from the demiurge, which disjoins something, creates something new, for example, fire, in the process of the first great sacrifice, the great battle against primary forces, which are semantized as the chaotic ones, as a threat to harmony. Lightning acts as a tool to consolidate and to support the created elements of the universe, to purify and regulate it. A pottery kiln obtains consequently the status of a high, pure, and holy place. It becomes a part of the organized world. Such a correlation of fire as a demiurgic principle with lightning is known in the most primitive cultures. The comparison of traditional Belarusian sayings on the flame of a pottery kiln and the whole range of beliefs about fire, reconstructed for the Krivian cultural tradition on the basis of a large quantity of ritual operations, prohibitions, injunctions, and multifarious sacral texts that have been partly preserved, with the complex of beliefs, typical for other Slavonic ethnocultural traditions, finds that the Krivian conceptions are the most archaic; they have preserved the spirit of Slavonic paganism in its entirety.