Abstract

The subject of the study is the cultural code of Judaism in the visual semiosis of the Crimea. The object of the study is the traditional symbolism in the decor of the Jews of the Crimea: Ashkenazi Jews, Karaites and Krymchaks. The article uses the methods of cultural (semiotic, ontological and hermeneutic) analysis in the continuum of signs of the traditional Jewish semiosis, the idiographic method in the concept of the totality of signs, the method of analysis of previous studies, the method of synthesis in substantiating the morphology of signs. The following aspects of the topic are considered in the study: five main codes of Jewish culture are identified, their morphology and interrelationships are substantiated, as well as key meanings and the main central code. The main conclusions of the study are: 1. The multiethnic landscape of Crimea is made up of the cultures of numerous ethnic groups. The main feature of the identification and self-identification of cultures is religion. The Jews of Crimea include Ashkenazi Jews, Karaites and Crimeans. A single source for cultural codes in the Jewish semiosis is the Torah (the Mosaic Pentateuch) for all three ethnic groups, and for two of them (Jews and Krymchaks), the interpretation of the Torah is also the Talmud. 2. Based on the studied material, five main codes of the Jewish visual semiosis of the Crimea are identified, each of which unites a certain group of symbols: skewomorphic, phytomorphic, zoomorphic, numeric. The unifying code and the primary source of all codes is the code Book (Torah). The interrelationships between the codes, the key meanings – symbols of Creation, Paradise, Torah persons and Messianic aspirations are revealed. The semantic center of all codes is the repository of the Torah – Aron Hakodesh, and the Torah itself. Thus, the ring pattern "from Torah to Torah" is revealed. 3. A special contribution to the research of the topic is the systematization of the cultural codes of the Jewish semiosis of the Crimea. The scientific novelty consists in the fact that for the first time a culturological analysis was carried out and the interrelationships of cultural codes in the visual semiosis of the Crimea were structured.