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In the book «On the Sacrifice of the Horse» («Ashvamehikaparva») Brahmo is called «ether». The text reads: Ether is the highest of the elements… It has only one property and it is called sound. Ether produces seven sounds and a chord. Then the waves of the ether or the «heavenly Ocean» generate «wind» or movement, which already has two properties «sound and touch». Moreover, the intrinsic property of movement is «touch», i.e. inertia. Then visible Light is born, which already has three properties – «sound, touch and image.» The property of Light, which carries in it (as a visible image of the seven first sounds) the seven colors of the spectrum, is the Image, i.e. the entire visible material World. But the first color in this process of manifestation is precisely red. Hence, the «Sun is red» – as an image of materialized light or, as they said back in the 12th century: «A thing is more sun to Light.» And the first, as the prototype of the Earth, is also «Krasnaya Krasigorka».

But why are Old Testament Lilith and «Owl-Mother-in-law» born, seemingly so far from each other, so close to each other?

As it turns out, this distance is only apparent.

Thus, at the end of the 19th century, the first rector of Boston University, William Warren, spoke about the correlation of the image of the World Mountain «with the axis of heaven», i.e. with the North Pole and wrote about that «the Akkadians, who were the forerunners of the most ancient empires of the Tigris and Euphrates, also knew a similar World Mountain, unlike all other mountains, since the sky rested on it and revolved around it. They called her Harsak Kurra.» He also stressed that the Harsak Kurra of the Akkadians is the north-polar «mountain of life» of the Egyptians. He writes: «Joachim Menard believed that» the mythological Akkad was a circumpolar native, in memory of which the Akkad of the Tigris-Euphrates Plain was named».

He supports this assumption with the following facts: «Both names, Akkad and Sumer, are not Assyro-Babylonian, but borrowed from an older prehistoric language; the etymological meaning and common noun of the name «Akkad» clearly brings it closer to a distant country on the north-polar peak of the Earth. «W. Warren also notes that according to the Jews, «Heaven, the refuge of the supreme God, was in the north, in the circumpolar part of heaven, that is, in the sacred region… Job claims that» God makes in the North», in Ezekiel the true God appears from above and from the north (Job 37:22). «Bright weather comes from the north and around God terrible magnificence.»

Speaking about the ideas of the ancient Jews, recorded in the Old Testament, W. Warren cites the words of the prophet Isaiah, addressed to the ruler of Babylon: «How you fell from heaven, dear woman, and son of the dawn! Crashed to the ground, trampling on the peoples. And he said in his heart: «I will ascend to heaven, I will exalt my throne above the stars of God, and I will sit on a mountain in the doubt of the gods, at the edge of the North; I will ascend to the cloudy heights, I will be like the Most High». Thus, the place and time of the birth of the images of «Owl-Mother-in-law» – «Red Beauty» and «Lilith – Night Owl», apparently, were the same.

Moreover, the very name Lilith raises a number of questions. So the proximity of the Slavic and Indo-Iranian languages is well known. Back in the 19th century, K. Zeiss, A. Kuhn, F. Bopp noted the special ties of the Aryan within the Indo-European with Slavic, Greek and Armenian.

E. A. Grantovsky in his «Early history of the tribes of Asia Minor» wrote that «the supporters of the predominant Aryan-Slavic or Aryan-Balto-Slavic affinity refer the contacts of the predecessors of the Slavs (and the Balts) and the ancestors of the Aryans to the era of the Indo-European community that did not completely disintegrate (and in absolute dates to a very early period», at least 5—4 thousand BC.

Back in the 50s of the twentieth century, the outstanding Indian Sanskritologist R. Sankrityayana introduced the term «Indo-glory» into scientific circulation, and Professor D. P. Shastri said in 1964: «If I were asked which two languages of the world are most similar to each other, I would answer without any hesitation: Russian and Sanskrit.» The numerous similarities in the modern Russian language and Sanskrit were repeatedly written by N. R. Guseva.

My book «The Golden Thread» gives examples of analogues in the North Russian dialects and classical Sanskrit, as well as the names of the rivers of Russia, which can be explained only through Sanskrit.

Based on the above, it makes sense to remember that in Russian ritual songs such chorus as «lyuli-lyuli», «leli-leli», «leli-leli» is quite often encountered. Turning to Sanskrit, we learn that «li» literally means «to touch, caress, stick, sink, sit down, melt, melt, and dissolve.» Hence «lila» – «game, fun, beauty». In the Hindu tradition, the «love pastimes of Krishna and the cowherd boys fascinated by him» are called «lila». Here «lul (lolati) means» to move here and there, to rush, move, worry, sway, and disappear.» But in the same row there is the word «lulita», which has the same meanings – «to rush, move, worry, and wobble.»

«Lulita» and Lilith – isn’t it too similar both in sound and in meaning? And the folk etymology connecting the name Lilith with the Hebrew lul – «night», apparently, is close to the truth. After all, night is the time of lulita – or lul (to move here and there, rush, sway, etc.), i.e. carnal love. In any case, the Laws of Manu (text 175) directly states that «a twice-born man who has intercourse (sexual) … in the daytime must completely wash himself in clothes to atone for his sin. This is, firstly.

And secondly: remember that Lilith is associated with children, i.e. with those who are legally conceived at night. She gives them, but she can take them away. After all, this is the mistress of Life and Death, the Great Mother of matriarchy. Perhaps that is why in Russia since ancient times (and even today), when they put them to bed, they rocked small children in a cradle (lul), singing «lyuli-lyuli». After all, sleep is an intermediate state between life and death. The cradle «moves here and there, sways, hesitates,» and the child «plunges» into the night, into sleep, in order to return to this world in the morning.Thus, a close connection is being built between three ethnic traditions: Russian, Indian and Hebrew, where a common block of ideas associated with the term «lul, lulita» is preserved.

In the ancient Indian tradition (Sanskrit) this is a term denoting the concept of «moving here and there, rushing, stirring, swaying, and disappearing.» In addition, and this is very important, the active principle of Brahma – Shakti – is called «lolita» or «lulita» and represents the «feminine» principle of the universe. In Hebrew – Lilith is the name of the «night Goddess», whose symbol was the Owl.

In the Sumerian-Babylonian texts, Lilith is «The Holy Ruler», «The Great Mother and Mother», giving and taking life. The Hitto-Huritic goddess of love and fertility, the chthonic goddess who combines the male and female principles of Shavushka (Russian. Shovushka – Sovushka), also correlates with her.

And, finally, in the Russian tradition, this word «cradle» is a baby cradle and the chorus «lyuli-lyuli», «leli-lely», inherent in both lullabies and calendar ritual songs.

All this, taken together, testifies to the fact that the above-mentioned traditions have one source and, consequently, one Ancestral home – the North of Eastern Europe – the Polar region.

And the birth of this single tradition goes back thousands of years.

The question of what caused the Old Testament tradition to turn Lilith from the Great Goddess and the All-Mother into a bloodthirsty demon, an evil spirit that abducts newborns and drinks their blood, corrupts pregnant women and rapes sleeping men in order to give birth to children from them, remains open. Perhaps the answer lies in the legend of Cain and Abel – the farmer and the shepherd and their antagonism, which ended in the murder of Abel – the «shepherd of the sheep.» Is this not too similar to a split in the Indo-Iranian unity, when mutual hatred led to the fact that even the previously common gods were turned into demons. The «Asuras» of antiquity – radiant and blissful, became symbols of evil in ancient Indian mythology and good in ancient Iranian mythology. «Devas» are demons of ancient Iranian mythology, in ancient Indian they were deities. But before, everything was the same. And the Russian language testifies to this. We are still shouting «Urra!» invoking the light. And in Russian villages, a girl can still be called «devka», which is analogous to «ancient Indian (Sanskrit) devika» (daivika) – «divine, or even «deva "– (daiva) “ deity, divinity, fate, fate, destiny».

Here it is appropriate to recall again Greek mythology, in which there is a shepherd Lilai or Lily, «who revered of all the gods only Selene (ie, the Moon – the Goddess of the night) and sent her a night cult. The gods sent two lions on him, which tore him to pieces, but Selena turned Lily into a mountain.» The name of this «shepherd» sounds like a dull echo of the ancient mother cult.

And two lions are also appropriate here. Indeed, in the Sumerian image of Lilith (2 thousand BC) with owl wings and paws, and two owls on the sides, she stands on two lions.

And the mountain into which the shepherd Lilai (or Lily) has turned is also a symbol and embodiment of the Great Mother of matriarchy. It is hard to say where this boundary of mutual rejection passes, and the power of Mother Earth is replaced by the supremacy of the Patriarch-Shepherd. But the fear of freedom and independence of a woman is already recorded in the «Laws of Manu» which says: «Neither day nor night should men allow women to be independent and free in their actions: women inclined to worldly pleasures should always be under the control of men. In childhood, a girl is under the protection of her father, in her youth – under the protection of her husband, in old age – under the protection of her son, but she should never be left to herself, in other words, a woman should not have independence. But all the different hypostases of the ancient Mother Goddess, be it the Akkadian Ishtar, the Sumerian Inanna, Lilith, the ancient Greek Gaia, Hera, Aphrodite, Athena, etc., were distinguished by one main quality – independence. Therefore, it is not surprising that in a patriarchal society, Lilith turned into an evil demon.

Returning to Sanskrit, we note that among the many analogues of Russian words, the Sanskrit terms of kinship are of undoubted interest.

Russian – Sanskrit: mater’ – matr’ (mother), pramater’ – pramatr’ (foremother), mat’, mama – mata, ma (mother), syn – suna (son), tyatya, tata – tata, tyatya (daddy), dever’ – devr’, devar (brother-in-law), zhena – dzhani (wife), svoyak – svaka (brother-in-law), svat’ya – svatva, svata (matchmaker), zyat’ – dzhata, dzhati (son-in-law), snokha – snusha, snukkha (daughter-in-law), vdova – vidkhavva (widow), svokor-svakar (father-in-law).

Going deeper into the meaning, you understand that in essence it is all about the same thing in Sanskrit «papu, dad» – «protector», but should not «papa, dad» be the protector of his children. «Svakha, Matchmaker» in Sanskrit is an exclamation made when a new fire is ignited.

And the name of the wife of the god Agni (Fire). But does our «Svakha, matchmaker» not incite new family hearths, connecting the bride with the groom.

By the way, the word» nevesta, bride» is also in Sanskrit («nivesta») and it means «shell, packaging, case, tire», and the word «nivesaya» – «soothe, marry.»

In this rather extensive series, for some reason there are no sounds close to the Russian term «toshcha, mother-in-law».

But, knowing how it sounds in Russian, we will try to find an analogue in Sanskrit. It turns out he is – «tesu». And this term means literally the following: 1) that, that, that, 2) this, this, this, 3) he, she, and it.

Indeed, the Earth is indeed the Great Mother of God, which is on it. That, that, that, that, that, that, he, she, and it – everything is born by her and everything returns to her! So much for Maslenitsa – «Krasnaya Gora» of the Veles book! The great ancient holiday dedicated to Mother – Earth, the Eternal Universal motherly principle, whose awakening was celebrated on the day of the vernal equinox – March 22. Waking up for a whole month (from February 21 to the night of March 21 to 22), she woke up completely to give birth to all living things. And she was asked about the offspring of livestock, about healthy offspring, about a rich harvest. They asked, riding on luxuriously decorated horses, whose mistress she was – «The Lady of the Horses.» They asked, rolling on spinning wheels from the icy mountains dedicated to her. And here it is appropriate to recall the wooden fetish of the ancient Greek Hera, which was a spinning-like wooden carved board that stood in the temple of Hera on the island of Samos. Note also that the same carved board was a symbol of the Great Mother Goddess of the inhabitants of the Hindu Kush (Afghanistan).

In the Russian tradition, it was women, girls and girls on the spinning wheels, who were holding pancake in the apron’s pocket, from the mountain to Shrovetide. But the spinning wheel in Russian ritual practice was by no means a simple tool for obtaining a thread. She was the embodiment of the Tree of Life, with which the Goddess – the Mother of God is directly connected. This tree carried the Eternal Time on its branches – past, present and future.

The spinning wheel was a grave monument and connected the world of the living and the world of those who passed away, ancestors and descendants. As the embodiment of the original deity, combining both feminine and masculine principles, the spinning wheel was a symbol of fertility and contributed to an increase in the fertility of everything living on Earth. And the threads obtained on a spinning wheel are not so simple. The very word «niti» in Sanskrit means literally «correct behavior, life wisdom, custom», and nitka – «musical melody, song».

And here it is appropriate to recall the ancient Egyptian goddess Neith (Nit), who was worshiped as «the father of fathers and mother of mothers», «All-Creator», combining both male and female principles, «Lady of the Waters» at the beginning of the 3rd millennium BC during the first dynasties of the kings of Egypt. Her hypostases later became Hathor, Isis, Nephthys and Serket. Herodotus identified Neith with Athena, the owl Goddess, the Mother of matriarchy. It is worth emphasizing that the sacred city of the goddess Neith was called «Lunyt» (Lunit), and the ancient Greeks called it Latopolis (city of Lato), Polis Laton (city of Latona) or simply Lato.

Together, they personified Mother Earth, which cannot be loved or praised. Awakening from a long winter sleep, she was glorified by songs, and bonfires, and violent merriment. People asked Mother Earth for happiness, abundance and a rich harvest, burning a scarecrow from the straw left after threshing last year’s grain. And giving this symbol of the past year the elements of fire, they returned to the Earth ashes and ashes so that they would be reborn with new breads (note that in the Lithuanian tradition, Sauvius is the founder of the tradition of corpse burning and the guide of souls).

Everything returned to the eternal mother’s beginning. And the women who gave birth, raised and married their daughters, represented this Universal and Eternal Mother in the world of people, calling her by the most ancient name Mother-in-law.

Great Mother Avina

Even in the era of Paleolithic proto-farming, people already clearly realized that the straw burnt in the fields, remaining after grain collection, increased soil fertility.

This is probably the very source, the starting point from which the widespread straw cult subsequently grew. On straw (in the Russian folk tradition): they gave birth to children, danced on Christmastide and Shrovetide, the bride had to stand in front of the crown, washed, washed the dead, laid them on the table for Christmas and only after that they laid the table with an abusive tabletop, and it was supposed to die on the straw. Sheaves of straw and a straw effigy that were burned on Shrovetide, in this context, were symbols of fertility, happiness, abundance – the very «dead body» of last year’s harvest, which was given to the elements of fire and, having turned into soot and ashes, gave rise to new life, a new harvest.

And since in the Paleolithic antiquity, the collection, storage and processing of grain «were occupied by women -" girls, young men», and the earth itself was associated with the image of a woman -" Mother Earth "– there is nothing surprising in the fact that the Maslenitsa straw effigy was given female features. And this rite does not at all testify to the «bestial manners» of our ancestors, as some modern «intellectuals» claim, being horrified at the burning of a scarecrow and believing that its place before, before the adoption of Christianity, was occupied by a living woman, during the burning of which everyone around her people sang, danced and rejoiced.

Such a terrible picture could only be born in a very sick imagination. Indeed, even during the numerous auto-da-fe (burning of heretics) in Christian Western Europe, there was nothing like this (songs, dances and violent fun).

During Shrovetide, participants in the ritual sprinkled ashes and soot from a fire on each other and even on the floor in the huts, thus joining in fertility, abundance, happiness, wealth.

And here’s what’s interesting. In the ritual songs of Christmas fortune-telling (submarine songs), we meet the image of the Owl precisely in connection with smoke, ash, soot or a hole in the barn through which the sheaves were transmitted. So in a sublime song (recorded by P. V. Shein at the end of the 19th century), predicting poverty and widowhood, it says:

«Sitting owl

Over the boot.

Wonderful or lyadu!

Who sang

Good for that!».

But almost the same song foreshadowed the wedding:

«And the owl sits

Before the dry

The falcon has arrived

He tore off the crest!».

Here «sapushka, sopuha» is:

1) an air vent near the stove;

2) soot in the pipe;

3) a carved hole in the wall, which throws hay;

4) smoke in a chicken house.

And, what is no less interesting, «sipukha» is the North Russian dialect name of the owl itself.

Among the songs foreshadowing death, one of the attributes is the barn (or threshing floor):

«A woman sits on a barn

The canvas tears.

Ilea, Ilea!».

Or:

«I walk around the humenets

I lay a towel.

Holy evening!».

In turn, the girls complain in sacred songs that they are forced to «ram the sheepskin» or «threshing floor» (Notes of P. V. Shein in the Oryol and Simbirsk provinces).

Where does such a more than strange attitude to the barn (threshing floor) come from and what does it have in common with the stove (soot, ash, ash) and, ultimately, with the owl?

Let us turn for the answer, first of all, to the «East Slavic Ethnography» by D. K. Zelenin, which says that: «In the swamps and forests where the North Russians and Belarusians live, the drying of the sheaves in the barn is still preserved, although now this is rarely done. Until the beginning of the 20th century, barns existed here everywhere, and only the widespread use of threshers led to their rapid disappearance… The simplest variety of barn for drying sheaves is called Shish… A real barn… it’s a rough log building. According to popular beliefs, in the pit of the barn lives the barn or the barn, the barn’s father. His appearance is uncertain».

It is worth emphasizing that the archaic form of Shisha is a cone made of poles or logs, under which a hole is dug, where a fire is made to dry the sheaves, and extremely resembles the shape of a grave mound, mound or pyramid.

B. A. Rybakov noted that the Northern Russian barn is a place of the cult of fire – Svarozhich, which in various forms survived until the beginning of the 20th century everywhere.

«Fire Svarozhitsu pray.» Fire is called «god», «holy fire»; while blowing up the fire, prayers were recited. The fire is transferred from the old dwelling to the new… «We honor fire as a god,» said the inhabitants of Podolia. Ancient sources speak of the cult of Svarozhich under the barn, where a fire should burn, drying the sheaves. The Belarusians, making a fire under the barn, threw an unmilled sheaf of rye at it as a sacrifice to the fire.» In one of the sermons of the 12—13th century those who pray «fire under the barn» are sharply condemned. Very often, the «barn» (or Ovinnitsa) was perceived in the early 20th century as a spirit of fire. It should be noted that in the Vilnius province the Belarusians washed in barns, and in the Russian provinces they gave birth in barns. The barn was also directly related to the wedding ceremony. So there is evidence that on the first day of the wedding they drank beer in the barn. Then, during the wedding, the bride’s parents «drank the barn.» And, finally, at the end of the wedding, the ceremony of «pouring the barn» was performed, when a fire was lit in the barn, shouted «fire» and ran to fill the fire with beer (information of L. A. Tultseva).

The deceased was brought to the barn to be put on straw (wheat or pea). The idea that the souls of the dead (navi) leave bird tracks was widespread until the early 20th century. Therefore, on Thursday of Holy Week, in the bathhouse or barn (which served as a bathhouse), the floor was sprinkled with ashes so that the «navi» left a bird trail. In Bulgarian folklore, the «navi» have left a trail of birds. In Bulgarian folklore, «navi» are the birdlike souls of the dead, flying at night and frightening with their cry. But mostly only owls and eagle owls fly at night, i.e. representatives of one family.

In the folk tradition, there were special holidays in which it was forbidden to heat Riga.

They were called «the name of the barn.»

These included:

Exaltation (September 14),

Thekla Zarevnitsa day (September 24),

Feast of the Most Holy Theotokos (October 1).

It is interesting that at the end of the threshing process, pancakes are baked, brought to the barn and put on the oven there. Pancakes, as you know, in the Russian folk tradition are associated with the cult of ancestors and the moon – «the sun of the dead», and in the archaic version they are unleavened cakes baked on hot stones in ancient hearths.

Ovinnik (or barn) seemed to our peasants the most powerful of all the spirits around them -«experienced owners begin to drown the barn in no other way than by asking the “ owner ” for permission. When the last sheaf is removed, they turn to the barn with their faces and with a low bow they thank the barn». And, finally, «barns», like baths, are a favorite place for girls’ fortune-telling. They come here on Vasilyev’s evening, at midnight, between the second and third roosters (the most convenient for conspiracies).»

Earlier, grain pits were used as warehouses for communal grain, which were arranged in the threshing floor. Ovin (or threshing floor, riga) is a place where grain was dried and stored.

And where grain is stored, mice will appear. And where mice appear, owls appear. And in this case, owls are welcome guests.

The owl that flew to the granary is still a gift for the farmer today. She saves the crop by killing the mice. No cat can compare to an owl here. In general, even in the late 19th and early 20th centuries, the attitude towards the barn and the owl in the Russian folk tradition was special.

And here are some examples.It was believed that if an owl flies into a village, sits under the roof of a house and screams, then a big fire will happen in this house, or even in the whole village.

But at the same time, the owl screams to the newborn.

A. V. Gura in his work «Symbols of animals in the Slavic folk tradition» noted that «in the Owl they see the embodiment of the devil… According to the ideas of the Poles and Serbs, witches often turn into Owl. Poles have a belief that an owl is dead during the day and only comes to life in the dark. Everywhere, by its appearance near the house, the Owl portends death… There are known beliefs about the Owl as the embodiment of the soul of the deceased…

With its cry, the Owl cries out the souls of the dead (among the Poles), lures children out of the house and deprives them of life (among the Serbs). The owls guarding the treasures are the souls of the longtime owners of buried treasures (among the Poles).»

But with all this, «the scream of an owl is also perceived as a prediction of the birth of a child… The image of the newborn in connection with Sova appears in some Belarusian reaping songs in which women urge each other to catch the Owl in life. «An owl appears as a celibate, widow, or dissolute (unfaithful wife, promiscuous girl).» And here it makes sense to recall Lilith – Ishtar – Astarte – the Goddess Owl of ancient Sumer (2 thousand BC).

«Cry of the Owl and some subtle songs about the Owl, writes A.V. Gura – promise the birth of an illegitimate child from a widow or a girl. The Belarusian abusive expression «Smaked Sava» is addressed to the girl who gave birth before marriage… The Russians called the owl a «dissolute» inn «woman».

The image of the Owl develops erotic symbolism. In Polish riddles, the Owl is directly related to the female genital organ. Marriage and erotic symbolism is inherent in the image of the Owl in the wedding ceremony. For example, in Ukrainian songs performed before the wedding night, the Owl symbolizes the bride. «And, finally, «as a talisman for the people of the city, the Owl is nailed to the door of a house to ward off illness and misfortune. For Poles – to the gates of the barn, to frighten mice, for Ukrainians they hang Owl in the stable so that the brownie does not torture the horses».

And how can you not remember the «Owl-Mother-in-law», which herded horses in the Vologda ritual song:

Turu-turu, shepherd, do you sound far off?

From sea to sea, to Keyeva town

There is our homeland, in the homeland there is an oak tree,

An owl is on the oak, an owl is my mother-in-law, she grazed horses.

And further. «The owl has extraordinary properties. If the heart of this bird is put together with the left leg or at least one claw on a soundly sleeping person, he will immediately tell what he thinks to do in the future, and will reveal all his innermost secrets».

Researchers of the «owl question» also note the following about the Owl: «Since she is afraid of daylight and flies out only at dusk or at night, lives mainly in old or destroyed buildings, she is credited with demonic significance… takes the form of an owl (here it is appropriate to recall the Russian: «I went to the devil’s grandmother!»)…

An owl feather is worn by people who roam at night and want to get rid of the fear of darkness. Obviously, the owl was once a symbol of the ability not to feel fear and move freely even in the dark, that is, to be initiated into the secrets usually hidden for mortals».

For all the vices and virtues attributed to the patriarchal Sowa, in the Vologda and Vladimir ritual songs that survived until the 80s and 90s of the 20th century, she appears before us as:

«Owl – Mother-in-law», that is, the Foremother;

«Lady of the Horses», that is, the Great Mother Goddess of Indo-European peoples;

«Little telly motley», that is, Mother Earth of Indo-Iranians (Aryans).

B. A. Rybakov in «The Paganism of the Ancient Slavs» speaks of the essence of the worldview of primitive farmers «in the form of the formula: grain + earth + rain = harvest and the reflection of all links of this formula by means of a female figure… Woman and earth are compared and equalized on the basis of the ancient idea of fertility, fertility… supposed to sculpt a female figurine, then grain and flour were added to the soft clay, merging the agrarian and female principles».

Draga Garashina, and after her Maria Gimbutas, expressed the idea that in the Eneolithic figurines (such as the clay goddesses of Tripoli), the Great Bird Goddess appears before us. B. A. Rybakov writes the following about this: «one should warn against some insufficiently substantiated propositions of M. Gimbutas. These include, first of all, the hypothesis of the great Bird – Goddess. The author often relies on the primitive stylization of sculptures, but the avian features attributed to them do not seem convincing. Perhaps a retrospective analysis should also be applied: from the later winged sirens – Sirins, to go deeper into the origins of this image».

Our North Russian ritual song about «Owl-Mother-in-law», recorded by A. M. Mehnetsov in 1974 in the Vologda Oblast, seems to have put an end to this discussion. The favorite plot of M. Gimbutas was confirmed.

But to talk about where, the origins of this image, should be based not only on the Neolithic images of women with owl heads found in the Russian North (6—4 millennia BC), and Trypillian owl-headed goddesses of the Eneolithic (4- 3 millennium BC). We will have to descend into those depths of millennia when agriculture was born on the territory of the Russian Plain (and the Russian North, in particular).

50 – 48 millennia BC is the beginning of the warm Mologo-Sheksninsky interglacial. As the atlas monograph «Paleogeography of Europe for the Last Hundred Thousand Years» (1982) and «Paleolithic of the USSR» (1984) testify, this was a time when in the territory of most of Western Europe it sharply became colder. The Wurme (Valdai) glaciation led to the prevalence of the tundra with birch-spruce woodlands on these vast expanses. But unlike Western Europe and Siberia, the territory of Eastern Europe was warm. And this warm Mologo-Sheksninsky interglacial period lasted, with small intervals, almost 27 thousand years – up to 23 millennium BC.