Introduction

Comprehensive research on the Ukok plateau in 1990-1996 allowed us to obtain representative data on rock carvings of this archaeological microdistrict. Information about the presence of images on rocks and moraine stones here was introduced into scientific circulation by V. D. Kubarev [1980]. We have identified more than 50 locations with different image saturation on the plateau [Molodin, Cheremisin, and Novikov, 2004], and suggested periodization of petroglyphs and interpretation of individual plots [Molodin and Cheremisin, 1992, 1995, 1996, 1997; Molodin and Cheremisin, 1999, 2002]. Petroglyphs of the Kalgutinsky Mine monument, which, in our opinion, belong to the Upper Paleolithic era, were covered in the monograph [Molodin and Cheremisin, 1999].

The purpose of this article is to summarize the work done in Ukok, introduce the most significant complexes into scientific circulation, and try to build a periodization scheme for rock art in this area of Asia.

Geographically, the Ukok plateau is a kind of oasis, convenient for cultivating hunting, fishing and cattle farms. Due to the easily traversable routes along the Ak-Alakha and Bukhtarma Rivers connecting it with neighboring territories in the south, north, west and east, as well as passes through mountain ranges in the south, Ukok seems to have been a transit zone for carriers of various cultures at all times (Fig. 1). The discovery of the Russian-Chinese border between the Ukok and the Ukok region is considered to beThe present "petroglyphic El Dorado" (Jacobson, Kubarev, Tseevendorj, 2001; Kubarev, Tseevendorj, and Yakobson, 2005) by the Mongol-American expedition in the neighboring region of Central Asia, in the Mongolian Altai, indicates that carriers of various archaeological cultures penetrated the plateau; the Ulan-Daba pass and the Sailugem ridge connect Ukok with Central Asia.

Undoubtedly, in comparison with the petroglyphic massif discovered by V. D. Kubarev, D. Tseveendorzh and E. Yakobson in the Tsagan-Salaa and Baga-Oigur river valleys, the petroglyphs of Ukok are significantly inferior both in number and variability (obviously, the main migration routes and nomadic places of pastoralists passed south of the mountain range bounding the plateau from the south). Nevertheless, the scientific significance of the petroglyphs of Ukok is very great. Firstly, in a rather closed area of the plateau, various monuments from the end of the Pleistocene to the ethnographic present are concentrated; secondly, petroglyphs are included in the chronostratigraphic scale created on the basis of excavations of various archaeological sites in this region of Asia [Molodin, 1997]; with the accumulation of sources, this scale was improved [Archaeological Sites..., 2004, p. 223]. Studying each newly discovered petroglyphic object on the plateau, we tried to explore the complex completely, making copies of absolutely all the discovered images. The most important compositions from a scientific point of view are given in this publication.

Analysis of the results obtained

The most ancient monuments found on the plateau are petroglyphs of the Kalgutinsky Mine located in the eastern part of the plateau. Detailed characteristics of the complex

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Figure 1. Panorama of the Ukok plateau.

it has already been put into scientific use [Molodin and Cheremisin, 1999]. The archaic layer of petroglyphs includes a small series of images made in the technique of embossing mainly on horizontal planes. These are figures of horses, bulls, and deer (Fig. 2). Images are poorly preserved. Today, the relief of images buried in the rock surface has almost disappeared, only traces of knockout have been preserved; the figures are visible only under a certain angle of illumination. The presence of unmistakable stylistic features of the monument's images allows us to date this artistic layer to the Upper Paleolithic era.

What are these features? All the figures are separate and do not make up compositions; some of them are incomplete or have gaps in the contours of animal figures. There are separate images of a bull's head. Horses are shown with saggy bellies and a characteristic head shape. In the above-mentioned monograph and a number of articles, based on the European and Asian parallels known to us (Molodin, 1998; Molodin and Cheremissin, 1999; Molodin and Cheremissin, 1999, 2002), we substantiated the opinion about the Upper Paleolithic age of the monument. Over time, it became possible to strengthen the argument that we present in this paper.

Studies of rock carvings conducted by the Russian-Mongolian-American expedition in Mongolia (in the western part of the Bayan-Olga aimag of the Republic of Mongolia) in the immediate vicinity of the Ukok Plateau have yielded very significant scientific results (Jacobson, Kubarev, Tseevendorj, 2001; Kubarev, Tseevendorj, Yakobson, 2005). Among the thousands of beautifully documented drawings, researchers rightly distinguish an archaic layer of images that, from our point of view, are synchronous with the oldest petroglyphs of Ukok. These include images of horses, bulls, mammoths, rhinoceros, and possibly "ostriches " or" bustards " on the monuments of Baga-Oigor, Tsagan-Salaa, and Aral-Tolgoi. V. D. Kubarev, D. Tseveendorzh, and E. Yakobson define the age of these drawings in different ways. D. Tseveendorzh connects them with the epoch Paleolithic, E. Jacobson-with the boundary of the Pleistocene - Holocene, while determining the images of woolly rhinoceros and mammoths [Jacobson, 1999, p. 38; Jacobson, Kubarev, Tseevendorj, 2001, p. 22, 63-64; Kubarev, Tseevendorj, Yakobson, 2005, p.43-54]. On the pages of a recently published monograph, E. Yakobson agrees with the opinion of D. Tseveendorzh [Kubarev, Tseveendorzh, Yakobson, 2005, p. 28 - 29]. In this paper, E. Jacobson uses the materials of those European monuments with Paleolithic images on open planes, which we relied on in our monograph devoted to the analysis of images of the Kalguta Mine [Ibid., p. 28].

V. D. Kubarev believes that the oldest petroglyphs in the Mongolian Altai are:-

Figure 2. Image of a horse. Kalgutinsky Mine.

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Neolithic and Early Bronze Age structures (Jacobson, Kubarev, and Tseevendorj, 2001, p. 22, 63-64; Kubarev, Tseevendorj, and Yakobson, 2005, p. 43-54; Kubarev, 2004a). From the researcher's point of view, there are no images of the Pleistocene period on open rock planes in the Mongolian Altai. He also questions the Upper Paleolithic identity of the images in the Khoyt-Tsenker Agui cave in Mongolia. In this paper, we will not analyze the arguments of this researcher, since we have described our vision of the problem in detail in our monograph. Unfortunately, the evidence base of V. D. Kubarev, in our opinion, has not been strengthened; it is transferred word for word from one work to another, which makes any constructive polemic meaningless.

In our opinion, the latest discovery of at least three mammoth images in Western Mongolia [Jacobson, Kubarev, and Tseevendorj, 2001, p. 366, N 907; p. 368, N 912; Kubarev, Tseevendorj, and Yakobson, 2005, p. 47, Fig. 4], as well as A. P. Okladnikov's determination of the data obtained in the first half of the present study, is considered to be the most recent discovery of at least three mammoth images in Western Mongolia [Jacobson, Kubarev, and Tseevendorj, 2001, p. 366, N 907; p. 368, N 912; Kubarev, Tseevendorj, and Yakobson, 2005, p. 47, Fig. animals in the Hoyt-Cenker cave of Agui [1972], puts all the dots over the "I". In any case, an unbiased researcher asks the question: if these images are not of mammoths, then whose? It should be noted that in the composition on the territory of Western Mongolia, next to two figures of mammoths, a bull's head is knocked out, and in the same manner as in Ukok [Molodin and Cheremisin, 1999, p. 60, Fig. 36]. In addition, judging by the style, undoubtedly archaic petroglyphs were discovered in the Russian Altai (see: Cheremisin, 2002, p. 492, Fig. 1; 2006, p. 502, Fig. 1, 2; Miklashevich, 2000, p. 41).

When discussing stylistic parallels, one should point out the works of the French researcher E. Guy, who conducted a detailed analysis of images of Paleolithic horses in the petroglyphs of the Koa Valley (Guy, 2002). Moreover, his methodology is based on the more than once successfully tested concept of Ya. A. Sher on pictorial invariants [1980], although E. Guy is most likely not familiar with the works of the Russian researcher published in Russian and French. According to a study using the method used by a French colleague, the images of horses in the Kalgutinsky Mine are quite comparable in all respects to classical Upper Paleolithic drawings. Indirect evidence in favor of the proposed attribution can be considered the presence of Paleolithic sites in this area, one of which was discovered by V. I. Molodin in Mongolia in 2004.

The Neolithic epoch in the territory of Gorny Altai is still extremely poorly studied today. Only certain layers of the Tytkesken II site on the Katun River can be confidently attributed to this period (Kiryushin Yu. F., Kiryushin K. Yu., 2002; Kiryushin K. Yu., 2004). Unfortunately, it is not reasonable to talk about any pictorial monuments of this era.

Ukok has rock paintings from the Bronze Age. Its earliest stage, which we associate with the Afanasiev culture, should include images of marals on a moraine stone on the shore of Lake Baikal. Muzdy-Bulak (Molodin and Cheremisin, 2002) (Fig. 3). Petroglyphs are placed on top of each other.

3. Palimpsest on a boulder near the lake. Muzdy-Bulak. The sequence of drawing images is shown by the intensity of the contour of the shapes.

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4. Scene of a bull hunt. Kara-Chad X.

the earliest are three figures of marals. Later, other animals and people were depicted on top of the largest petroglyphs in the central part of the stone. Stylistically and iconographically, these images are most closely related to the figures of marals in petroglyphs of the Kucherli cult complex (Kuylu grotto) [Molodin, 1996], as well as Kalbak-Tasha [Kubarev and Jacobson, 1996, fig. 220, 228, 229, 307] (Here, as in Muzdy-Bulak, some compositions have contour lines. images of maral deer are often combined with figures whose head and neck are highlighted with silhouette embossing). In the valley of the Jazator River, D. V. Cheremisin studied the compositions of the Uzungur locality, which also represent images of marals similar to those of Muzdy-Bulak (Cheremisin, 1998; Cheremisin, 2000). The presence of the Bertek-33 burial ground of the Afanasiev culture in Ukok (Savinov, 1994a) is indirect evidence in favor of such attribution. Unfortunately, nothing has yet been added to substantiate the possibility of this chronological link between a certain stylistic layer of images in the Altai Mountains, apart from other indirect considerations expressed by one of the authors of this article [Molodin, 1996].

The Advanced Bronze Age is represented by petroglyphs of several localities in Ukok. These include compositions depicting the hunting of anthropomorphic characters in mushroom-shaped headdresses. Hunters are shown in a peculiar pose on slightly bent legs (Kara-Chad X monument) [Molodin and Cheremissin, 1999] (Fig. 4). The objects of their hunting are clearly distinguished - bulls, obviously wild yaks; often the body is divided by vertical lines; spots are shown. This pattern is typical for a wide range of petroglyphs in Central Asia (Kubarev, 1987; Devlet, 1992, p. 40-42; Molodin and Cheremisin, 1996; Kubarev, Tseveendorzh, and Yakobson, 2005, p. 534, Fig. 44; and others]. The Kara-Chad X monument near the Russian-Chinese border features a scene of archers hunting

Figure 5. Hunting scene with dogs. Kara-Chad X.

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Fig. 6. Images of sarlyks. Kara-Chad X.

7. Petroglyphs of the Bronze Age. Moraine-6.

5). The multi-figure compositions of this era, which are striking in their perfection and expressiveness, were discovered by a Russian-Mongolian-American expedition in the valleys of Western Mongolia to the south of Ukok, where the main migration routes obviously lay and where, judging by the studied petroglyphic monuments, thousands or even tens of thousands of drawings are concentrated [Kubarev, Tseveendorzh and Jakobson, 2005]. On the Baga-Oygur II monument, there is a figure of a character in a mushroom-shaped headdress with a dagger [Jacobson, Kubarev, Tseevendorj, 2001, p. 339, fig. 807], according to which this type of image can be reliably dated: daggers with a ring-shaped pommel appeared in Western Siberia in the Late Krotovian period [Molodin, 1985, p. 60 - 62]. A dagger similar to the Krotov samples was found in the Osinkinsky burial ground (Savinov, 1975) and dates back to the Advanced Bronze Age. Special works by I. V. Kovtun [2004] and V. D. Kubarev [2004b, pp. 75-76] are devoted to the images of daggers in petroglyphs. Images of sarlyks in a characteristic pose with raised hypertrophied tails (Kara-Chad X) belong to the Bronze Age (Fig. 6). Their torsos are rendered in a specific geometrized manner; animals on a boulder in the Moraine-6 cluster are shown with the same sub-quadrilateral bodies (Fig. 7). A similar interpretation of animal images, including bulls, is repeatedly presented in petroglyphs of Central Asia.

Describing the subjects of petroglyphs of the Bronze Age, it should be noted that there are no images of chariots on the Ukok plateau, but they are often found in the neighboring regions of Mongolia and in the high-altitude valleys of the Russian Altai (for example, in the valley of the Elangash River, the largest accumulation of chariot drawings applied to rocks is concentrated). Whether this is due to the inaccessibility of the plateau or other reasons, it is still difficult to say. Rock carvings of chariots have been found in high mountain areas, valleys, and passes that are accessible only by a horse-drawn trail (for example, Saimaly-Tash on the Tien Shan). Further study of chariot-related subjects, as well as excavations of Bronze Age monuments in the Altai, may allow us to offer an explanation for this fact.

Images of anthropomorphic characters in mushroom-shaped headdresses, presented in a characteristic pose, on half-bent legs (Kubarev, 1987), should be perceived as a certain trans-Asian phenomenon, obviously inherent in the cultures of the Okunev-Karakol circle. On the Ukok plateau, this circle includes the Bertek-56 monument, which was studied by one of the authors (Molodin, 1993b; Archaeological Sites..., 2004, pp. 205-206).

Numerous rock carvings representing the Early Iron Age on the Ukok Plateau are concentrated on the Kyzyl-Tas monument (Bertek scribble). There are multi-figure compositions [Cheremisin and Slyusarenko, 1994], as well as separate clusters of drawings on moraine stones along the banks of the Ak-Alakhi River [Archaeological sites..., 2004, p.198, 207]. The most vivid reflection of the style

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8. Petroglyphs of the Early Iron Age. Bertek scribble.

These epochs are figures of deer, camels, horses in a sudden stop pose, as well as deer with bent legs, i.e. stylized in a characteristic Scythian or Scythian-Siberian manner (Fig. 8). It is significant that both "canons" are presented on Ukok in one composition, which indicates the simultaneous existence of both manners depict animals that are apparently related to the traditions of the "Arjan-Mayemir" style.

On Ukok, animals are depicted not only in rock art, but also in statuesque images - on stone stelae, the so-called deer stones [Polos'mak, 1993, p. 28, Fig.6]. Two rows of such low statues are marked in the eastern and western floors of mound 2 of the Ak-Alakha burial ground P. The burial complex of this mound according to the inventory (stirrup-shaped bits, horn psal, drilled boar's tusk, bronze nail, gold plates encircling the tails of horses) and the burial rite dates back to the VIII-VII centuries BC [Ibid., pp. 21-22) and has the greatest similarity with the materials of the Arzhan I mound in Tuva.

A few petroglyphs in the style of deer stones have been recorded in Ukok (Savinov, 1990). On the monuments of Kyzyl-Tas and Morena-2, there are images of deer made in a manner typical of the deer stones of Mongolia (so-called stylized, or pretentious, deer on sculptures of the Mongol-Trans-Baikal type) (Fig. 9). This group of stelae is distinguished by the following features:-

Figure 9. Image in the style of deer stones. Moraine-2.

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Figure 10. A figure in the style of deer stones in a multi-figure composition. Moraine-2.

lizovannye figures of deer with a beak-shaped muzzle; this iconographic canon on Ukok is represented by two petroglyphs, and on Moraine-2 the figure of a deer is included in a multi-figure composition (Fig. 10). It seems that these petroglyphs were carved on the rocks and moraine boulders of Ukok in the early period of the Early Iron Age by the population who left the Argamji olen stones (Molodin, Cheremisin, Novikov, 2004), as well as stelae on mound 2 of the Ak-Alakha II burial ground [The Witcher, 1993] and probably Herexury. This makes it possible to consider rock and statue monuments synchronous and belonging to the same culture.

The absence of numerous petroglyphs in the" Pazyryk " style in Ukok, as well as within the Altai in general, does not allow us to clearly identify a layer of rock carvings that could be associated with the Pazyryk population, whose art is known thanks to the excavations of undisturbed permafrost burials on the plateau [Phenomenon..., 2000; Polos'mak, 2001]. It is obvious that most of the images of animals are on rocks and moraines.

11. Petroglyphs of the Early Iron Age. Moraine-3.

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boulders on the plateau, less expressive than the compositions of Kyzyl-Tas, belong to the Early Iron Age; probably, these drawings should be associated with the inhabitants of Ukok in the second half of the first millennium BC. e. Drawings on moraine boulders were applied, most likely, in winter, because it is at this time of year that modern shepherds raise herds of cattle for their transportation. grazing on snow-free high-mountain pastures. Small in size, non-uniform in surface quality boulders determined the nature of the compositions: As a rule, these are several figures of animals, mainly mountain goats and deer, as well as predators (Figure 11). Less often, anthropomorphic characters armed with a bow are presented. Quantitatively, these monuments dominate the plateau; they are concentrated in several locations along the banks of the Ak-Alakha River, where we have identified concentrations of moraine boulders.

On the Kalgutinsky Mine monument, a compact cluster of non-figurative images is found, in which, by analogy, property signs are undoubtedly defined - tamgas or tamga-like signs (Fig. 12). Such signs are usually associated with the Hunno-Sarmatian cultural and chronological layer left by the Iranian-speaking population of Eurasia at the turn of the first millennium BC-1 millennium AD [Novgorodova, 1984, pp. 110-124; Vainberg and Novgorodova, 1976].-

12. Petroglyphs of the Hunno-Sarmatian era. Kalgutinsky Mine.

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ko investigated this archaeological and epigraphic source in detail. He linked the population who left tamgas on the rocks, similar to those of Tsagan Gol (the closest point to Ukok, where clusters of similar signs were found and studied) and the Kalguta Mine, with the Yuezhi and determined the Iranian language of the carriers of this pictorial tradition [2001]. The latter thesis, of course, does not look indisputable. Nevertheless, the attribution of these images to the Hunnic-Sarmatian period is quite legitimate from our point of view (Molodin and Cheremisin, 1996). Funerary and ritual complexes of this time in Ukok (Molodin, 19946; Savinov, 19946; Molodin and Cheremisin, 1996) indicate a change of population, i.e., the displacement of Pazyryk people from Central Asia.

Petroglyphs that can be confidently dated to the Early Middle Ages and considered ancient Turkic have not yet been found on the plateau. This also requires an explanation, since similar rock carvings and inscriptions are known in the neighboring regions of Altai, and bright ancient Turkic funerary and memorial monuments have been excavated in Ukok (Savinov, 1994b). Two ancient Turkic statues were found on the plateau. It is possible, however, that the image of a mountain goat on the Kyzyl-Tas monument, made with a deep engraved line, should be attributed to the ancient Turkic time.

We define the most recent petroglyph layer of Ukok as paleoethnographic; a number of images can be associated with such iconic objects on the plateau as Moinak III [Archaeological sites..., 2004, pp. 144-146]. Petroglyphs of this period are distinguished by the absence of patina; most of the drawings are drawn or scratched on rock planes and stand out in white. The plots are also peculiar: along with the drawn figures of animals, among which the image of a mountain goat prevails, there are often crossed lines, peculiar "lattices", and non-figurative images.

Modern drawings are also recorded on Ukok. They are usually associated with ancient petroglyphs; shepherds who spend the winter on the Ukok plateau, unfortunately, updated the ancient images, knocking out figures on top and next to it (Kyzyl-Tas). The outline of one deer is drawn with oil paint, and the names of "artists" are also applied to it (Fig. 13). One of the shepherds, a resident of s. Jazator carved a mountain goat figure on a rock on the right bank of the Ak-Alakha River, according to him, "to mark a visit to Ukok" (Fig. 14).

There are no engravings on the plateau that represent scenes of hunting with coulter guns, scenes of migrating and grazing cattle, as well as attributes of a shamanic cult, which are found on other rock art monuments in the South-Eastern Altai (for example, Elangash). Perhaps this is due to the fact that the territory of the plateau in the modern era was developed by Kazakhs, who today distance themselves from the traditions of rock art and associate this phenomenon with their neighbors-the Altaians.

13. An embossed figure of a deer; the outline is now made up with paint. Bertek scribble.

14. A modern drawing on a rock on the right bank of the Ak-Alakha river.

Conclusion

Rock carvings recorded in Ukok from different eras - from the Upper Paleolithic to the present-are associated with ethno-cultural processes,

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They reflect the relations of the population of this microdistrict with the inhabitants of the neighboring regions of Gorny Altai. The most striking and representative petroglyphic complexes were discovered and studied on the territory of the Mongolian Altai adjacent to Ukok. Analogies in the materials of rock carvings of certain historical periods (the Upper Paleolithic, Early and advanced Bronze Age, as well as the Early Scythian period) suggest that at all times the plateau was a kind of northern periphery of the Central Asian world. The possibility of correlating rock monuments with artifacts from excavations, identifying analogies and connections with neighboring territories will contribute to further study of visual traditions, and clarifying chronological and historical attributions of rock images.

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The article was submitted to the Editorial Board on 04.05.07.

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