Publications
Angara Style Rock Art: The Evolution of a Regional Emblematic and Syncretic Style
Angara style rock art, previously thought to have originated elsewhere, is shown to have developed in situ within the Mongolian Altai during the Upper Palaeolithic (13,000–10,300 years before present). This conclusion is supported by comparative stylistic analysis and palaeoenvironmental data. The study reveals that hunter-gatherers creating this art migrated eastward due to drought around 8200–7300 bp, eventually settling in the Minusinsk Basin. On the Middle Yenisey River, Angara style rock art served as a mnemonic device encoding syncretic cosmologies and beliefs of proto Ket and Evenki groups, reflecting their social alliances.
Chronology of Rock Art of the Russian and Mongolian Altai: From the Paleolithic to the Late Middle Ages
A comprehensive chronology of rock art spanning from the Paleolithic to the Late Middle Ages has been established for the Mongolian Altai, revealing layered petroglyphic palimpsests with overlapping images. The study identifies distinct stylistic and thematic traditions, including Bronze Age representations linked to Afanasyevo and Chemurchek cultures, characterized by unique 'Chemurchek anthropomorphs.' Challenges in dating Neolithic petroglyphs and analyzing Xiongnu-Sarmatian and Turkic styles are highlighted. The research employs a detailed analysis of stylistic features and cultural contexts to classify diverse petroglyphs, providing insights into the temporal and cultural evolution of Altai rock art.
Rock Art and the Reconstruction of a Paleoenvironment: The Case of Alces alces in the Mongolian Altai
Prehistoric rock art in the Mongolian Altai, particularly depictions of the moose (Alces alces), provides unprecedented insights into the radical environmental transformations of the region over several thousand years. This study reveals that the presence of moose in petroglyphs from the Baga Oigor valley—dating back to the late Paleolithic through the Turkic Period—signals significant shifts in the Altai Mountains' ecosystem, influencing both faunal survival and cultural dynamics. By analyzing these images within their broader pictorial contexts, researchers reconstruct a world inhabited by ancient hunters and herders, offering a nuanced understanding of how environmental changes shaped human societies. This approach bridges gaps in our knowledge of this poorly documented region, shedding light on the interplay between ecology and culture.
Наскальное искусство в творчестве Н.К. Рериха: художественная интерпретация и культурфилософский поиск
Nikolai Roerich's artistic works, which reinterpret ancient Central Asian petroglyphic art, reveal a unique creative method blending scientific and artistic interpretation. This approach allows for deep penetration into the essence of ancient cultures, uncovering hidden intersections and symbolism in an original manner. Roerich's extensive research on petroglyphic complexes across Russia, Mongolia, the Himalayas, and Tibet demonstrates his profound humanistic perspective, infusing his art with aesthetic and spiritual ideals. His works not only showcase high artistic value but also reflect a harmonious world order, showcasing the fusion of cultural philosophy and artistic expression.
Conceptualising spiritscapes
A novel framework, 'spiritscapes,' emerges from this study to redefine the Mongolian Altai's cultural landscapes by integrating contemporary rock markings and sacred features with historical petroglyphs. This approach challenges traditional perspectives, advocating for a multi-naturalist viewpoint that encompasses both biodiversity and cultural elements. The research highlights the interconnectedness of past rock art styles, climatic variability, and modern cultural expressions like ovuus and stupas, offering a radical shift in how these landscapes are understood and preserved. By drawing on biocultural diversity concepts, the study provides a holistic lens to analyze UNESCO World Heritage Sites, emphasizing the dynamic relationship between human communities and their environments.
Diversité génétique des chevaux anciens et modernes de l'Altaï et des territoires adjacents
A groundbreaking study reveals genetic continuity between ancient and modern horses across the Mongolian Altai and adjacent regions, tracing potential migration routes. Researchers analyzed mitochondrial, nuclear, and microbial DNA from archaeological horse remains spanning multiple cultures (Biiken, Pazyryk, Turkic, Khereksur, Deer Stone, Xiongnu) and modern breeds using high-throughput sequencing. Key findings include close genetic links between ancient Altai horses and modern Central Asian/Middle Eastern breeds, as well as between Mongolian Late Bronze–Early Iron Age horses and Chinese local breeds. The study also identifies pathogenic microbes in Eneolithic–Early Middle Ages samples and confirms the Pontic-Caspian steppe as the likely center of horse domestication, not Altai. These insights highlight the region's significance for ancient DNA research and cultural exchanges.
“Paraboloids”, “lattice figures” and “poles with canvases” (petroglyphic images and ethnographic parallels)
A comparative analysis of geometric petroglyphs from the Mongolian Altai reveals three distinct complexes, each representing different stages or functions of anthropomorphic modeling. The first complex, characterized by paraboloid shapes with anthropomorphic features, likely depicted mummers representing vegetative spirits during rituals and dates back to the Eneolithic to Bronze Age (Chemurchek and Karakol cultures). The second complex, featuring lattice figures with additional body parts, appears to symbolize dummies used in seasonal rituals, associated with Afanasiev and Karakol cultures. The third complex, consisting of poles with suspended rectangular canvases, serves a memorial purpose, representing deceased individuals, and belongs to the Okunevo culture. Ethnographic parallels suggest these petroglyphs reflect a progression from ritual mummers to symbolic dummies and finally to memorial models.
Horse's hoof motif in the art of ancient nomads (genesis and symbolism)
The horse's hoof motif, prevalent in the art of ancient nomads, served as both a pictogram and a symbol of social or ethnic identity. This study reveals that the motif originated in the Mongolian Altai during the late Bronze Age, spreading across Asia before disappearing by the 3rd century BC. The hoof was depicted schematically on petroglyphs and items like ladles, cheek-pieces, and buckles, with regional variations in its use. The earliest representations were found in Altai, suggesting a significant role for Asian territories in its development. By the second half of the 7th century BC, the motif had spread to the Middle East, transforming into an additional detail in animal figures. The research identifies specific cultural and stylistic areas where the hoof motif was prominent, including Sayano-Altai, Dnieper-Kuban-Caucasus-Iran, South Ural (a buffer zone), Khakass-Minusinsk Hollow, and Kazakhstan. The study suggests that the motif may have been associated with royal Scythians, a nomadic group influential in the formation of archaic Scythian culture.
Prehistoric Mongolian Archaeology in the Early 21st Century: Developments in the Steppe and Beyond
Recent archaeological research in Mongolia has significantly advanced our understanding of the region's prehistoric and medieval cultural sequences, particularly through the development of precise chronologies and regional studies. The study highlights unique data from Mongolia that contribute to global archaeological discourse while addressing long-standing questions about early human habitation, the transition to food-producing economies, Bronze Age social transformations, and the emergence of centralized polities. By synthesizing findings across the Upper Paleolithic, Epipaleolithic/Neolithic, and Bronze Age periods up to the Xiongnu era, this review offers a comparative framework for further examination. The research underscores Mongolia's role as a key region in northeastern Asia, bridging gaps between steppe and broader global prehistory.
Semiotic Analysis of Petroglyph «Ancient Turks and the Mother Goddess Umay/Umai»
A semiotic analysis of petroglyphs from the Petroglyphic Complexes of the Mongolian Altai reveals significant insights into the Turkic culture's early period, particularly concerning the depiction of the Mother Goddess Umay/Umai. This study, conducted on a boulder discovered at the Kudyrge burial ground near the Chulyshman River, combines traditional archaeological and historical methods with semiotic-ethnographic analysis to decipher the visual artifacts as a system of signs. The research argues that such an approach can provide a deeper understanding of the rich historical heritage, offering new perspectives on the cultural and ethnographic significance of these ancient symbols.
A Runic Inscription at Sarykoby (Southeastern Altai)
A recently discovered runic inscription at the petroglyphic site Sarykoby, located in the Mongolian Altai's Saylyugem Range, offers new insights into the religious and philosophical expressions of ancient Altai. The inscription, consisting of two lines with 21 and 13 characters, translates to a plea for luck or battle, possibly invoking blessings or prayers. Its content, featuring the rare Mongolian loanword 'su' (meaning 'glory, greatness'), suggests intimate, non-public carvings common in Altai runic inscriptions. The shallow carving and inconspicuous placement imply a personal or ritualistic intent, contrasting with typical public displays. This finding enriches our understanding of Altai's cultural and linguistic heritage, highlighting the site's significance as part of UNESCO's World Heritage.
Altai – Himalayas Project: Confirmation of Nikolas Roerich’s Idea
Modern research confirms Nikolas Roerich's long-standing hypothesis that the cultures of Altai and the Himalayas share deep kinship, rooted in common historical trajectories and influenced by similar 'host landscapes.' This study, part of the 'Altai-Himalayas Project,' leverages interdisciplinary evidence from archaeology, culturology, geography, and biology to validate Roerich's concept of these regions as 'two poles' or 'magnets' of Eurasian cultural genesis. The project, led by one of the authors, builds on Roerich's foundational work—including his establishment of the 'Urusvati' Research Institute in India—and extends it with contemporary scientific insights. By analyzing shared environmental and cultural patterns, the research underscores the role of 'containing landscapes' (a concept attributed to Lev Gumilyov) in shaping Eurasian societal development, bridging ancient traditions and modern understanding.
Entangled landscapes
Collaborative fieldwork at the UNESCO-listed Petroglyphic Complexes of the Mongolian Altai reveals intricate connections between nature and culture, highlighting how these landscapes are shaped by intertwined ecological and human narratives. The research underscores the potential for enhanced collaboration between international conservation organizations like IUCN and ICOMOS to strengthen the World Heritage system through shared vocabularies and innovative approaches. By addressing challenges in cross-disciplinary partnerships, this work demonstrates that creative and diverse working methods can foster more effective and inclusive conservation strategies.
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