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 Art of a groove and a chase carving on a bone has arisen on Chukotka long before our era.
Age of most ancient of known bonecarve items of Chukotka - a tip of the harpoon found on Wrangel island, - 3,5 thousand flying.
Finds of archeologists speak that in the first eyelid of our era on Chukotka there was a whole graphic tradition. Marine hunters of shore Beringov sea created true masterpieces from a tusk of a sea cow and horns of a deer: coated{obtected} with the relief image of stages from life of boreal people and an actuarial pattern subjects of the hunting equipment, amulets and dressings. And the decorative pattern had magic value - he shadowed and brought good luck. People for the first time have come to Chukotka of 20-25 thousand flying back. It were hunters on is mammoth, bisons, reindeers. In those far times Chukotka and Alaska were bridged with an extensive neck - Beringija. On it{him} ancestors of Indians went from Asia in America and have lodged there. But about 10-12 thousand flying back Beringija has flooded with water: Asia from America was separated with a marine channel.  On a shore of Chukotka ancient people hunted on sea cows, whales, seals. This craft gave them I peep, clothing, materials for building implements and huntings, and also subjects of arts and crafts, attached with religion or is simple a dressing of dwelling.
All magiko-religious submissions of inhabitants of Far North have been connected{linked} with marine animal as life of people depend on them. The special place in outlook of coastal inhabitants was borrowed{occupied} with a walrus tusk.
His{Its} processing is not simply art or creativity, it is the whole philosophy. Of tusks did{made} amulets, preserver, images of spirits - keepers of the locus.
Since XVIII eyelid, in increasing frequency in descriptions of the travellers visiting Chukotka, there are instructions{indications} on surprising ability" feral{natural} Chukcha" to effect hand-made articles from a walrus tusk.
The subjects of Chukchi art usually removed as souvenirs, by degrees were going in museums and have interested not only ethnographers, but also artists - critics.
The culture of the bone which have arisen in a life, in practice of the hunting manufacture, still till now has not lost the household value.
 Numerous details of instruments of hunting and various economic utensils, nursery toys, and up to the recent past - amulets it is possible to find subjects of cult value in all coastal settlements where hunting for a sea cow is conducted. The tusk of a sea cow is a basic material for household and the more so for art items. But also other parts of a skeleton of marine beasts including bones of the giant of the polar seas - a whale, are widely used for household needs, down to manufacturing parts of horsemen narts and kayaks and especially for a structure of winter dwellings where maxillas and arrises of a whale change{interchange} a missing tree.
This omnipresent skill in coastal settlements to treat{process} a bone and was a material and technical base on which exclusive art bestowal and tendency to fine arts of natives of Chukotka were showed with the large completeness and have begun a national art craft. plastic generalized, realistically expressive figures trade animal and sculptural groups" Hunting" and" Extirpation of beasts", the team of deers and dogs and the multiefficient sailing schooners decorated with a relief groove and a multi-colour chase carving of a framework, knifes and other decorative - welfare items and in particular whole tusks with pithy actuarial compositions of narrative character and contemporary-styled folklore plots differ originality and the acuteness{witticism} of visual perception inherent in hunting peoples of Arctic regions.
In a colour wood block on tusks and items, the hunting episodes and stages, being enriched by new contemporary-styled and folklore plots, educe in multistoreyed under the content genre compositions or consistently recited actuarial narrations in which all variety of industrial activity of hunters and deer - herds is displayed, the cultural transformation, coastal settlements changing to the public - household way and collective farms and the surprising fantastic world of fairy tales, the legends stored in memory{remembrance} of people. Art of a groove and a chase carving on a bone is that part of national art culture which marine hunters and deer - herds of Chukotka introduce a treasury of art creativity of peoples of Soviet Union as the precious investment in. From contemporary-styled foremen of a Chukchi groove and a chase carving on a bone the gifted artist, inexhaustible on inventions - Onno, an excellent{a different} foreman of gravure and relief groove Huhutan, the constant chief of Uelenian workshop, the zealous keeper of Chukchi art Vukvutagin is secreted. The works of these and other foremen gathered in museums and exhibited on exhibitions in Moscow and abroad, have received the deserved popularity and a high assessment{evaluation} the Striking feature of Chukchi chase carvings on a walrus tusk complete absence of the image of heavenly bodies is; - the sun, the moon and asters. Thus, the Chukchi fine arts present us as though the pattern of the world without those its{her} most significant constituents which would allow to see in her the pattern of the universe. This feature of Chukchi fine arts for today is represented it is very difficult explained. Submission even a small part of "background" by the way the establishments of a sculpture - for example, stones or ice which is supervised in some samples of a Chukchi sculpture, also, obviously, reflects universality of the pattern of the world in three-dimensional fine arts which, apparently, are not adapted for this purpose at all. One more curious example of the universal pattern of society or the universal pattern of the world which refers to rather serotinal{late} time, but reflects very archaic submissions about represented, chase carvings on supports under samples of a volumetric sculpture of Chukchas are. Usually it is images of stages of hunting for bears, bears and seals, people and bears, people and sea cows - And in all events the chase carving on a support as though supplements a necessary diversification a plot of a sculptural composition up to « the universal pattern of society », or « the universal pattern of the world », including people, animal and a landscape - a nonliving nature.
 . Communication{connection} of represented object with the determined elements - water or a land - it starts to be shown enough late, and this method will be realized{sold} considerably how the image of the person or animal completely loses any sacral functions. Only in rather infrequent events, at the image marine animal sculptural group, as, for example, in a composition « the Whale and swallows ». If to speak about interpretation of space and plots of a sculptural groove on a bone here it is possible to note the following regularities. Special popularity at foremen - in an equal measure both Yakutiya, and Chukchi - two-figured and multifigured compositions use;. It is difficult to speak about, whether always multifigured sculptural compositions are realization of the universal pattern of society as their sculptures with flock of figures can be determined and only utilitarian causes, the composition is intended for a museum breadboard model . However the considered material allows to make one extremely interesting observation which allows to characterize if and not exhibiting of universal canons and submissions about the world then one private{individual} feature of a sculptural canon which appears in an equal measure characteristic for a Yakutiya and Chukchi figured groove on a bone which samples appreciablly differ on the stylistics.
 to One of liked objects of a Chukchi figured groove on a bone is the stag team. Very early samples of such compositions are known;, speaking to us nowadays about enormous resistance of traditions of manufacturing of such sculptures. The composition by the way a stag team represents us unity of the person and a nature, showing to us both animal, and the person - kajura, and also unity of objects of an alive and nonliving nature, in particular{personally} the subject world as in her traditional ethnographic subjects are shown; - narts, a harness, clothing.
Repeated circulation of these compositions which have both today commercial value and for a long time already become dream of any northerner, it is a lot of flying living on Chukotka, and their relative monotony in works of foremen of Chukotka seriously hinder the semantic analysis of elements of the given composition. A diversification of plots of separate stages defines Chukchi figures and the chase carvings meeting on tubes and the handle from a bucket already in XIX - the beginning XX eyelid . Not casually on rather early samples of a chase carving on a tusk we meet significant plots for ethnography « Dances on a holiday of a whale », « Recapture in a settlement » , in which all shows the same universal pattern of society. On these samples already there is a prospect: in the foreground people, on more removed plan are represented; - houses.
the Contemporary-styled person fascinates not only secret magic sense of these modes{images}, but also their plastic, limiting laconism of graphic tongue, love and care in relation to a material - a walrus bone, beauty of a rhythm and original art logic of a decorative pattern.
the Walrus bone, a horn of a deer, a skeleton bone marine animal, a tooth of a cachalot - these materials are liked by aboriginal carvers, give them a perfect possibility to recreate modes{images} of a close nature and native people, to tell to the large world about unique beauty of edge{territory} which so is difficult for seeing personally. the Basic kinds of a contemporary-styled Chukchi groove on a bone - small-sized plastic and a subject chase carving on walrus tusks.
One more early sample of a chase carving on a tusk 20 years XX century « Bears and sea cows » shows characteristic treatment of space and a landscape: in the foreground the artist represents an ice edge, on more removed plan - small hills or hummocks, on the most distant plan the line of horizon cut up by hills Interestingly, that itself the explorer of Chukchi art T.B is distinctly visible. Mitljanskaja writes « we do not see here a concrete landscape … » . The most essential consists here in our opinion that we find in Chukchi art not concrete recognized landscapes, and rather rigid canon of the image of environing space, a resistant structuring of this space and filling by his{its} determined subject elements which also are defined by resistance and invariancy. Surprising resistance « the universal pattern of society » has noted by us. In a chase carving « Hunting for bears » Alongside with hunting the stage of cutting of the bear is represented, hunters trail a killed seal, bears eat a dead whale, and people somewhere go on dog teams. Such diversification of represented stages extremely typically for Chukchi chase carvings on tusks and on him is possible to not be intercepted specially already. Chase carvings on a walrus tusk with only marine landscape background meet in the investigated material not too often, and more often they represent it images marine animal or stages of marine hunting. The background in such figures appears not open water, and ice is induces on reflections that figures on marine plots are secondary in relation to figures with the image of a dry matter: following to a canon shows so hardly what to represent the open water does not come in a head to anybody from artists even at digenesis and enrichment of tongue of fine arts at the expense of experience and acquaintance to samples of other cultures.
Much more often there are such figures in which are consolidated the pest and drying - one more refraction of " the pattern of a universal landscape » as one of private{individual} demonstrations of the image of the pattern of world around.
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