134:. He states that he observed such pictures being made during social gatherings: a young girl would start carving on a fresh birch bark, and the onlookers made guesses about what she was depicting. Eventually, after several incorrect guesses, all the participants in the game would arrive at a common understanding of the picture. Since the participants knew each other well, they could easily deduce the meaning of the carvings; it was not easy for the outsiders to understand the meaning, but Shargorodskii could do so with the help of his Yukaghir acquaintances. According to Shargorodskii, such birch bark carvings were drawn only by young women, and only discussed love lives.
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176:(1948) included an illustration, likely based on Weule's work, with the caption "Sad love-story of a Yukaghir girl". According to one interpretation, the arrow shapes represent four adults and two children. The solid and broken lines connecting the arrows represent current and previous relationships between the adults.
202:(1989) traced it to Diringer, and ultimately Shargorodskii. DeFrancis asserted that the pictures were not letters, but the product of a party game, in which young women could publicly express their feelings about love and separation to a small circle of friends in a socially acceptable way. In a
164:(1915) published a slightly different version of the Shargorodskii's picture, drawn by the artist Paul Lindner, with the caption "Yukaghir Love Letter" in a popular museum booklet. Thus, Weule appears to have been primarily responsible for promoting the idea that the Yukaghir pictures represent
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Small-scale maps drawn by men to assist in travels for hunting and other purposes. These maps used a limited set of symbols to depict features such as rivers and dwellings, so it appears that the
Yukaghir men had established certain mapping
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Depictions of record-keeping: for example, Shargorodskii provides a picture, which according to a
Yukaghir man, records that a Yukaghir woman made a shawl for him, and received payment in form of several items such as a comb, tobacco, and
149:, a political exile turned ethnographer, published another example of the Yukaghir carving. Subsequently, several other writers reproduced these pictures. Jochelson wrote that the Yukaghir men often visited the
80:, the Yukaghir carving is "an example not of writing but of anecdotic art", whose meaning is clear only to someone who is in contact with the creator or another interpreter who understands its meaning.
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for various purposes; the
Yukaghir pictures were expressions of sadness by the jealous Yukaghir girls, who were concerned about losing their lovers to Russian women during such visits.
122:. Six photographs of the alleged Yukaghir writing system accompanied the article. Shargorodskii obtained the picture of what later came to be known as a "love letter" from a Yukaghir
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article, Sampson admitted that the picture was "not an example of 'communication' at all", and that he had taken the picture (and its interpretation) from
Diringer.
36:. Russian writers observed these carvings in the 1890s, and based on their descriptions, several 20th-century scholars misunderstood them to be the examples of a
145:. Shargorodskii had referred to the pictures as "writings" and "figures", but Krahmer presented them as "letters". In 1898, Shargorodskii's friend
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A notable example of the
Yukaghir carving is a sketch by the Russian writer S. Shargorodskii (1895), reproduced by Gustav Krahmer (1896).
215:(1999) described the Yukaghir pictures as "diagrams of emotional attachments" and "texts, because they tell stories". American linguist
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191:. Sampson described the sketch as a love letter sent by a Yukaghir girl to a young man, presenting it as an example of a
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The so-called "Yukaghir love letters", which are actually product of a guessing game at social gatherings (see below).
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area, near the Arctic Ocean. He gained the trust of the local
Yukaghir people, and joined them in social activities.
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Three kinds of
Yukaghir carvings are known from the accounts of the Russian writers S. Shargorodskii and
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Gustav
Krahmer published a translation of Shargorodskii's article in the geographical journal
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writing system, which is capable of "communicating its meaning independently of speech".
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Scripts and
Literacy: Reading and Learning to Read Alphabets, Syllabaries and Characters
318:"Logographic and Semasiographic Writing Systems: A Critique of Sampson's Classification"
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The so-called "Yukaghir love letter" was alleged to be the best example of
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324:. Neuropsychology and Cognition. Vol. 7. Springer. pp. 47–48.
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The so-called
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107:. He spent 1892-1893 in the Yukaghir village of Nelmenoye in the
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Nicola Brunswick; Sine McDougall; Paul de Mornay Davies (2010).
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Ideogram: Chinese Characters and the Myth of Disembodied Meaning
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Although Sampson did not mention his source, American linguist
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Waldemar Jochelson (2018). Erich Kasten; Michael Dürr (eds.).
40:. One particular carving became well-known as the "Yukaghir
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In 1895, Shargorodskii published a 10-page article titled
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for various purposes such as mapping, record-keeping, and
187:(1985) included a modified version of this sketch in his
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J. Marshall Unger (2003). "Cryptograms vs. pictograms".
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Visible Speech. The Diverse Oneness of Writing Systems
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Apparently unaware of DeFrancis' work, art historian
99:Shargorodskii, a member of the revolutionary group
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398:Reading and Dyslexia in Different Orthographies
374:. University of Hawaii Press. pp. 21–25.
261:. University of Hawaii Press. pp. 24–34.
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183:picture writing for years. British linguist
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20:were traditionally drawn by
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422:Geoffrey Sampson (1994).
288:. SEC. pp. 434–447.
255:"A Yukaghir Love Letter"
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253:John DeFrancis (1989).
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172:'s widely-read book
116:On Yukaghir Writing
147:Vladimir Jochelson
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436:: 117–132.
430:Linguistics
205:Linguistics
181:ideographic
42:love letter
34:party games
30:birch barks
483:Pictograms
462:Categories
447:2023-02-22
268:0824812077
223:References
162:Karl Weule
124:party game
137:In 1896,
128:charades
72:buttons.
151:Russian
26:Siberia
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143:Globus
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