Currently, there is a fairly complete information about 42 rock art monuments of the lower Angara, where 155 anthropomorphic images in the form of masks are recorded. Based on the classification of these images, using various methods and methods of dating, we can conclude that they are relatively synchronous, establish a connection with the circle of Okunevsky - type larvae in Asia, and pre-date them to the Late Neolithic-Early Bronze Age (III-II thousand BC). Having appeared in the Stone Age, anthropomorphic images in the form of larvae can be found they continued to exist in the art of the taiga tribes of the Lower Angara region until ethnographic modernity.

Keywords: nizhnyaya Angara, petroglyphs, masks, anthropomorphic images, classification, "Kamensky" type, heart-shaped contour, full-profile figures, stylistic analysis, dating, ethno-cultural contacts.

Introduction

The lower Angara region-the territory between the rivers Taseeva, Podkamennaya Tunguska, and Ob-has a length from north to south of up to 400 km, and from west to east of more than 600 km (Fig. 1). Studies of petroglyphs of the lower Angara have a long history (about 300 years), however, by the end of the XX century, this region was mostly inhabited by the population. In this respect, it has remained poorly understood (Zaika, 2005). At present, we have obtained fairly complete information about 42 rock art monuments. Numerous zoo - and anthropomorphic figures, boat drawings, and signs have been identified. The subject of this study is anthropomorphic images in the form of masks, which are recorded both as independent and as masks of anthropomorphic figures. Under the guise in this case, we should understand the frontal image of the front part of the anthropomorphic appearance. The mask mask is distinguished by hypertrophied contours with various details of the internal and external design. As a result of research over the past 15 years, 155 anthropomorphic images of this type have been recorded (Zaika, 2003). Most of the drawings are made with red mineral dye (Fig. 2), sometimes - by knocking out, engraving. Most of them are located on coastal cliffs, less often - on boulders (Figure 3). Most of the images are concentrated in the central part of the region (petroglyphic complexes Manzya, Ivashkin Klyuch, Kamenka, Vydumsky Bull, petroglyphs of the Mursky threshold, "Geofizik"). Individual drawings are found in the eastern and western sections of the lower Angara (Fig. 4).

The aim of this paper is to systematize, analyze and generalize the visual material in order to determine the cultural and chronological affiliation of anthropomorphic images of this category and their role in the development of rock art in North Asia.

Classification of anthropomorphic images in the form of masks

Researchers involved in the study of rock art are always forced to solve such a complex issue as determining the age of images.

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Figure 1. Archaeological research area in the Lower Angara region.

2. Red ochre face mask. Pisanitsa Ivashkin Klyuch II, plane 1. Photo by A. P. Berezovsky.

3. Coastal boulder in the vicinity of the village. Boguchany. Petroglyph "Geofizik". Photo by A. P. Berezovsky.

4. Location of archaeological sites on the lower Angara River. 1-pisanitsa Shivera; 2 - pisanitsy Nizhny, Middle Brother; 3 - burial ground Nikolskoye; 4-Ust-Taseevsky cult complex; 5-pisanitsy Murozhnaya-1-3, Murozhny Kamen-1-4; 6-pisanitsy "Olenny Utes", Rybnoye; 7-pisanitsy Kokui-1-3 8 - pisanitsy Vydumsky Byk-1-3; 9-pisanitsy Shuntary-1-3; 10-cult complexes Kamenka-1, -2, pisanitsy Kamenka-1-3; 11-pisanitsy Kamenka-4, -5, Zerguley-1, -2, Ivashkin Klyuch-1-3; 12 - pisanitsy Manzya-1-3, cave Manzya; 13-16-sites in the basin of the Irkineeva River; 17-petroglyph "Geofizik"; 18-pisanitsa Mursky porog, sites Mursky porog-1-3; 19-pisanitsa "Pisany kamen", site Klimino-1; 20-pisanitsa Ust-Kova-1; 21 - petroglyph Timokhin stone; 22-pisanitsa Aplinsky threshold.

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To date, various methods and methods of dating petroglyphs have been developed: the use of archaeological parallels, stratigraphic observations, stylistic analysis, comparison of the degree of desert "tanning" and application techniques, structural and formalized methods, the use of dated pictorial analogues, etc. [Okladnikov, 1959, 1966, 1971, 1974; Formozov, 1967, 1969; Podolsky, 1973; Sher, 1980, pp. 170-256; Pyatkin and Martynov, 1985, pp. 113-138; Kovtun, 1993; Molodin, 1993; Devlet, 1998, pp. 142-194; Melnikova, 2002; Nikolaev and Melnikova, 2002; et al.].

To facilitate the task of dating drawings, it is necessary to bring all available material into a certain system. Taking into account the experience of researchers who have classified anthropomorphic images in petroglyphs of other regions [Vadetskaya, 1980, p. 39-49; Leontiev, 1978, p. 89-97; Okladnikov, 1974, p. 77-79; Okladnikova, 1979, p. 26-54; Devlet, 1997b, 1980; Novgorodova, 1984, p. 49-50; etc.], we will consider these images take into account the presence and type of contours of disguises, the level of complexity, and the nature of their internal and external design.

Masks are divided into contoured, partially contoured and non-contoured. In the petroglyphs of the lower Angara, four types of contours are recorded: round, semicircular (paraboloid), heart-shaped, and diamond-shaped (Table 1). Simple and complex guises are distinguished. For ordinary people, the eyes and mouth are conventionally shown as spots (pits) or rounded contours, there are no "tattoo" elements, and there are no details of the external design. In complex larvae, the painted pupil spots are "reinforced" with concentric circles, circles with horizontal lintels, and the inner space of the large mouth contour is sometimes filled with transverse line segments ("teeth"). Often, vertical lines ("beard") adjoin the lower part of the mouth (Zaika and Yemelyanov, 1998). There are various elements of internal and external design. Details of the exterior design are: a vertical line, often with side branches ("tree-like process");" horns", which meet in two or three at the top of the contour of the larvae; radially diverging rays or an additional contour that repeats the main one. I divide the internal design ("tattooing") of masks into three types: horizontal, vertical, and combined (tab. 2).

147 larvae were accepted for consideration, of which 51 are relief (petroglyphs "Geofizik", Rybnoye, Mursky porog, Murozhnaya-3), the rest are drawn in ochre. More than half of them are fully or partially contoured. Larvae with a heart - shaped outer outline make up 22% of the total sample, 14% with a round one, 11% with a semicircular one, and 7% with a diamond - shaped one (see Table 1).

There are 68 neocon - tured larvae, of which 41 are simple, most of which are in relief, concentrated on the coastal boulder "Geofizik" (see Fig. 3). All complex neocon - tured larvae are drawn (see Fig.2). Their pupils are "reinforced" with concentric circles; as a rule, there are elements such as "teeth", "beard" and "tree-like process". Similar guises are found on many petroglyphs of the Lower Angara region, but most of them are concentrated on the Kamenka script.

Table 1. Disguises on the lower Hangar

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Table 2. Types of internal and external design of various types of anthropomorphic masks

(see Table 1). This was the reason for the identification (due to their uniqueness) of the "Kamensk" type of larvae specific to the region (Zaika and Petrovich, 2000, p. 135) (Fig. 5, 1, 3, 4, 7, 8, 10-12).

Many disguises are masks of anthropomorphic figures, which are divided into two main types: frontal and full-profile. For the former, the torso and limbs are shown in full-face, for the latter, the upper part of the torso is shown in full-face, and the lower part and legs are shown in profile (Fig. 6). Figures can be "three-dimensional" (with a contoured or silhouette torso) or linear. The petroglyphs of the lower Angara show a series of frontal figures with a contoured or silhouette torso of a sub-triangular shape. They tend to have broad shoulders and a very narrow waist. The limbs are located symmetrically on both sides of the body. The arms are spread out to the sides or lowered down, the legs are bent at the knees and brought together at the level of the heels so that they form a rhombus, or, disproportionately short, spread out to the sides. I distinguish this category of images into a special subtype, conventionally designated as front-symmetric shapes (Fig. 7).

Fig. 5. "Kamensky" type larvae in petroglyphs of the lower Angara. 1, 2, 8, 9-Kamenka; 3, 4, 6, 7, 12 - Ivashkin Key; 5-Mursky threshold; 10, 11, 13-Vydumsky Bull.

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6. Profile and full-profile figures in petroglyphs of Eurasia. 1, 5, 11-upper Lena (according to [Okladnikov, 1977]); 2, 4, 8, 10, 14, 16-18 - Angara (8-by [Okladnikov, 1966], the rest-by [Stutterer, 2003]); 3, 6, 7 - Altai (3 - according to [Okladnikova, 1976], 6, 7 - according to [Savinov, 1997]); 9, 12 - Minusinsk basin (according to [Leontiev, 1978]); 13, 15 - Northern Europe (according to [Savvateev, 1967]).

An intermediate position between the main types of anthropomorphic figures is occupied by images of "idols" * and figures with an amorphous torso. Their torso is shown in full view. Completely or partially missing limbs. In the "idols" it has a wedge-shaped shape. For figures with an amorphous body, its contours are usually blurry in the lower part (Figs. 8, 9).

Based on the results of the analysis of anthropomorphic images, the following conclusions can be drawn. Diamond-shaped larvae are rare. Most of them are hand-drawn, almost all are masks-disguises of frontal linear figures, and do not have "tattoos" (see Figs. 7, 2). The external design is represented by lateral "horns", in two cases-by a "tree-like process".

Semicircular (paraboloid) larvae are concentrated in the central part of the region. They are mostly hand-drawn, and most of them are masks-disguises of contour full-profile figures and "idols" (see Fig. 6, 2, 14; 7, 6; 8, 1, 4). It is noteworthy that they usually have a marked neck. These masks are characterized by a horizontal interior design and side "horns".

Round faces are equally represented as independent and as masks in frontal contour and linear figures, less often-in figures with an amorphous body, in isolated cases - in "idols" and full-profile figures (see Fig. 7, 16; 8, 8; 9, 12, 15; 10). They are characterized by horizontal, less often combined interior design and "horns" of all kinds.

Heart-shaped larvae are found almost everywhere in the region. They are mostly self-contained, and in some cases they are masks

7. Frontally symmetrical anthropomorphic figures in the art of North Asia. 1, 2, 5-7, 10, 11, 16, 18, 19 - lower angara (by [stutterer, 2003]); 3, 4, 13-15 - Baikal region (according to [Okladnikov, 1974]); 8-Tinnaya, srednyaya Lena (according to [Kochmar, 1994]); 9 - Karakol, Altai (according to [Kubarev, 1988]); 12, 20-23 - Minusinsk basin (12-according to [Pyatkin and Martynov, 1985], 20-according to [Leontiev, 1985], 21-according to [Leontiev, 1978], 22, 23-according to [Vadetskaya, 1980]); 17-Samus IV, Western Siberia (according to Studzitskaya, 1987).

* The term was introduced by D. G. Savinov [1997] and later changed to "wedge-shaped figures" [2000].

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Figure 8. "Idols" and wedge-shaped figures in Asian art. 1, 4, 5, 8, 9, 11, 14-16 - lower Angara (according to [Zaika, 2003]); 2-Aldan (according to [Okladnikov and Mazin, 1979]); 3-Amur (according to [Okladnikov, 1971]); 6-Khakassia (according to [Zaika, 20097, 10-Altai (according to [Savinov, 1997]); 12-Tuba (according to [Pyatkin and Martynov, 1985]); 13, 18 - Baikal Region (according to [Savinov, 1997]); 17 - upper Lena (according to [Okladnikov, 1977]).

9. Figures with an amorphous body in petroglyphs of Asia. 1, 3, 4 - Sayan Mountains; 2, 6, 12, 15-nizhnyaya Angara; 5, 7-Minusinskaya basin; 8, 10, 11, 13-Yakutia (Tinnaya, Tokko, Chirbe); 9, 14-Altai. 1-3, 6, 12, 15-by [Stutterer, 2009]; 4, 5, 7 - by [Kyzlasov, 1986]; 8, 10, 11 - according to [Kochmar, 1994]; 9 - according to [Okladnikova, 1976]; 13-according to [Okladnikov, 1977]; 14 - according to [Savinov, 2000].

10. Cup-shaped depressions forming anthropomorphic faces. Petroglyph "Geofizik". Photo by A. P. Berezovsky.

frontal anthropomorphic figures (see fig. 5, 13; 7, 5, 10; 9, 6). They are characterized by vertical, less often combined interior design, in two cases only horizontal is presented. External design - "tree branch" or vertical line. In one case, a frame in the form of rays is fixed.

Neoconturned "Kamensky" - type larvae are concentrated in the central part of the region and, as a rule, accompany heart-shaped larvae. They are also characterized by a "tree-like process" and vertical interior design (see Fig. 2; 5, 1, 3, 4-8, 10-12).

I consider it necessary to pay attention to partially contoured faces with a heart-shaped outline of the upper part, which was the reason for their correlation.

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Table 3. Combination of features of anthropomorphic mascots of the "Kamensky" type

Note: in parentheses - percentage of the specified amount.

with heart-shaped faces. Judging by the results of typological and statistical analysis, most of them correspond to the "Kamensk" type of non-contoured masks in terms of complexity and details of internal and external design (Table 3). Accordingly, there is every reason to include complex masks with a partial or complete heart-shaped contour in the range of anthropomorphic images of the "Kamensk" type (see Fig. 5, 2, 5, 6, 9, 13). This makes it possible to present more broadly the specific pictorial tradition in the ancient rock art of the Lower Angara region.

Issues of dating and cultural and chronological belonging of petroglyphs

The results of typological and statistical processing of visual material indicate frequent cases of mutual occurrence of different types of larvae in the same compositions (tab. 4), which indicates the relative synchronicity of their appearance in the rock art of the region (Zaika, 2001b). Stratigraphic and planigraphic analysis of petroglyphs, the results of comparing the technique of drawing execution, the degree of their preservation (patination, overlapping with lime deposits, leveling the relief) allow us to concretize this conclusion. The earliest are large openwork masks of the "Kamensky" type, simple masks with a rounded and heart-shaped contour, masks-masks of a number of full-profile and frontally symmetrical figures, and the latest are laconic stylized masks of the "Kamensky" type, paraboloid masks with a marked neck in frontal figures and masks-masks of various types in linear figures figures (Table 5).

To determine the cultural and chronological affiliation of petroglyphs, I consider it necessary to solve the following tasks::

See Table 4. Mutualizability of disguises on the lower Hangar

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See Table 5. Periodization of anthropomorphic images in petroglyphs of the Lower Angara

- identification of" pure " * compositions or individual drawings, on the example of which you can conduct the most productive stylistic and plot analysis of images;

- identification of pictorial analogs on dated petroglyphs of other localities;

- drawing parallels with other types of archaeological sources.

Heart-shaped and genetically related "Kamensky" type larvae are most often found in compositions with other guises (see Table 4). One of the "pure" multi-figure compositions, where a "Kamensky" type larva is present, is shown on plane 1 of the Ivashkin Key II scribble. The compositional structure of the figures is similar to the well-known dated images on the Shalabolinskaya (Kamen 53 according to [Pyatkin and Martynov, 1985]) and Koiskaya Pisanitsy, which date back to the Eneolithic and belong to the Okunevskaya cultural monuments (Fig. 11). The figures that make up the composition (with an amorphous body, "idols") and subjects (a horizontal row of profile and full-profile figures, a mask and a boat) also find correspondences in the art of North Asia and are characteristic of the Late Neolithic - Early Bronze Age (Zaika, 2001b).

Frontal-symmetrical figures, diamond-shaped, rounded, paraboloid, and heart-shaped faces have graphic analogies with the images on Samus ' and Glazkov's ceramics and vessels of the late third and early second millennia BC in the Middle Urals (Aseev, 2002; Kosarev, 1984).; Koksharov, 1990]. Kamensky-type mascots are similar in a number of features ("tree-like appendage", "beard", and lack of contour) to Eneolithic mascots of Inner Mongolia ( Zaika, 2001a) and anthropomorphic images of the Okunev culture ("Joya" and "Tas-Khaza" groups of petroglyphs). [Zaika, 2006a, Table 8]. Rock art of this culture is characterized by a compositional combination of images of anthropomorphic figures and hoofed animals, and a number of the latter are made in the Okunev visual traditions, in some the bull is recognizable (Klyuchnikov and Zaika, 2002).

Thus, most of the anthropomorphic figures with masked faces and the masks themselves in the petroglyphs of the lower Angara can be dated to the end of the III-middle of the II millennium BC and attributed to the northern periphery of the distribution of Okunev traditions in Russia.-

* "Clean" means compositions where there are figures made at the same time and united by a common storyline.

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11. Compositions with faces in petroglyphs of the Yenisei region. 1-Ivashkin Klyuch II scribble on the Angara River (according to [Zaika, 2001b]); 2-Shalabolinskaya scribble on the Tuba River (according to [Pyatkin and Martynov, 1985]); 3-Koiskaya scribble on the Mane River (according to [Zaika, 2006b]).

rock art of Siberia. The earliest are simple larvae, represented by cup-shaped depressions, which in some cases are enclosed in heart-shaped, skull-shaped or rounded contours. They are mostly recorded on a coastal boulder in the vicinity of the village. 3). Some of the holes and the external outline of the larvae are very poorly traced, which indicates that they are archaic (see Figure 10). Similar holes located randomly or in a chain are recorded among Neolithic images of moose on the Biryusa River and Murozhny Kamen-3 (Butorin et al., 1990; Zaika, Berezovsky, Yemelyanov et al., 2000; Zaika, Drozdov, Makulov et al., 2000; Zaika, Klyuchnikov, 2001). Larger paired hole-shaped depressions were found on the surface of a rock remnant excavated on the territory of the Kamenka-1 cult complex (Fig. 12). Based on the stratigraphic situation, a set of artifacts, and radiocarbon dates, this object dates back to the third millennium BC.The Neolithic burial site of the Serov period located in the immediate vicinity also does not contradict this date [Zaika, 1999].

At the same time, the Kulai ceramics of Western Siberia and vessels of the Early Iron Age of the Taiga zone of the Middle Yenisei and Northern Angara region display images in the form of diamond-shaped larvae in "horned" headdresses, made by drawing and using the technique of a receding spatula (Polosmak and Shumakova, 1991; Privalikhin, 1992, 1993). In the burial of the Tsepan culture of the Northern Angara region (XVIII-II centuries BC), a sculpture of "shaman women" in a headdress with "horns" was found carved out of a horn (Privalikhin, 1984). This is a definite basis for correlating a number of larvae in the Lower Angara petroglyphs with this epoch. Judging by the arrangement of the planes, the preservation and execution technique of the drawings, and the iconography of the accompanying animal figures characteristic of Scythian petroglyphs [Klyuchnikov and Zaika, 2001], it can be attributed to anthropomorphic images on the Murozhnaya-3 scribble [Zaika, Drozdov, Makulov et al., 2000]. The materials of the altar on the territory of the Ust-Taseevsky cult complex allow us to date the sculptural figure of the "idol" at the mouth of the Ust-Taseevsky river from this time. Taseeva (fig. 13). Having experienced a number of transformations, it had a cult significance until ethnographic modernity [Grevtsov, 1996, 1997; Grevtsov, Sergeikin,

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12. Hole-shaped depressions on the surface of an anthropomorphic rock outcrop. Kamenka-1 cult complex. Photo by A. V. Kayava.

Figure 13. The statue. Ust-Taseevsky cult complex. Photo by A. P. Berezovsky.

1999]. The portrait image of a human face located nearby is a profane duplicate of this sculpture or a rough self-portrait of the visitor and, by analogy with the images on the burial mounds in the western part of the Minusinsk Basin, corresponds to the Late Middle Ages - an ethnographic time (Zaika, 2005).

The most recent heart-shaped anthropomorphic images are recorded in medieval metalplastics of Western Siberia and the Urals; the heart-shaped outline of the upper part is represented by masks on shamanic paraphernalia of many Siberian peoples (Ivanov, 1954, 1979; Oborin, 1976; Oborin and Chagin, 1988). Thus, heart-shaped masks, which appeared in the stone Age, as a form of expression persisted until ethnographic modernity, without losing a certain cult significance in terms of content [Zaika, 2006b]. Such facts testify to the stability of pictorial traditions in the spiritual culture of the taiga tribes of Northern Asia.

Anthropomorphic images of the lower Angara in the context of the development of rock art in Asia

The border position of the region between Eastern and Western Siberia, the Middle and Lower Yenisei largely determined the mosaic of ethno-cultural processes in the Lower Angara region in ancient times, which was reflected in rock art. Using this category of anthropomorphic images as an example, it is possible to trace the cultural interactions of the local population with their eastern, western, and southern neighbors.

The southern influence of the Okunev visual tradition is associated with "horned" round and semicircular masks with horizontal interior design and "three-eyed" neoconturned ones, their combination with images of ungulates, including bulls and goats. It should be noted that neoconturned" three-eyed "masks appeared in the petroglyphs of Angara later than local masks of the "Kamensky" type.

Contacts with the Samus culture of Western Siberia explain the presence of anthropomorphic figures in paraboloid masks with a well-marked neck on the Angara scribbles (as a rule, this is absent in similar Okunev rock carvings). (Figure 14). Moreover, in some cases they are more recent in comparison with the drawings of the Okunevsky type. Similar images in the petroglyphs of Lake Baikal and Yakutia, most likely, appeared as a result of the further spread of this pictorial tradition along the Angara River to the east [Zaika, 2006a, p. 330].

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14. Frontally symmetrical figure of the "shaman". Pisanitsa Manzya II. Photo by A. P. Berezovsky.

The heart-shaped faces that dominate the writings of the forest belt of Northern Asia are known from archaeological sources of the Far East of the Neolithic era. Their appearance in the petroglyphs of the lower Angara can be either an autochthonous stadium-synchronous phenomenon in the culture, or a translation of this image in the western direction through the Amur, Baikal and Angara. It is possible that individual images of heart-shaped faces on Samus ceramics later appear as stable images of a heart-shaped appearance in the artistic metalplastics of the Early Iron Age and the Middle Ages of Western Siberia and the Urals (Zaika, 2006b).

Diamond-shaped larvae are known from Eneolithic petroglyphs in Mongolia (Novgorodova, 1984). Along with the grid-like design of the lower part of the anthropomorphic figures, this motif could have penetrated to the northwest through the Baikal region and remained until the Early Iron Age, both in rock art and in the decoration of ceramics of the Lower Angara Region and adjacent territories of Western and Central Siberia. The stability of south-eastern relations explains a number of stylistic, iconographic and plot analogies with the ancient art of China (Kamensky-type masks, cup-shaped depressions) [Devlet M., Devlet E., 2006, pp. 328-329].

Considering these facts in a concrete historical context, we can conclude that the Okunev culture carriers moved under the pressure of the alien Andronovo population, i.e., around the XIII century. to the north (until recently, there was a concept about the displacement of the Okunev population to the southern regions of the Sayano-Altai). Most likely, they moved along the left-bank tributaries of the Angara River (Biryusa, Taseeva), where petroglyphs of the Okunev type are recorded (Zaika, 2002, 2003; Zaika, Berezovsky, Yemelyanov et al., 2000; Klyuchnikov, Zaika, 2002).

At the same time, the development of rock art in the Lower Angara region cannot be explained only by external influence. Cultural contacts were not one-sided. On the example of theriomorphic images, many researchers state the presence of the "Angara" tradition in petroglyphs of Southern Siberia (Podolsky, 1973; Sher, 1980; Pyatkin and Martynov, 1985; Molodin, 1993; Sovetova and Miklashevich, 1999; etc.). Anthropomorphic images of the Okunev culture have a number of features characteristic of the "Kamensky" type of masks: absence of a contour in the presence of external attributes, for example, a "tree-like process" is present in "Joya" type larvae, a three-or multi-beam bundle of lines completes the headdresses of earlier "Taskhaza" type larvae [Zaika, 2006a, Table 8]. Frontally symmetrical figures with masked faces, images The "adorants" found in petroglyphs of the Okunev culture and on Samus ceramics are a characteristic subject of rock art in the Angara and Baikal regions.

A distinctive feature of masks in the Lower Angara region, in comparison with other regions (Sayano-Altai, Minusinsk basin, Inner Mongolia, Yakutia, the Far East, Western Siberia), is the almost complete absence of solar symbols. Researchers attribute the appearance of solar symbols in the art of Central and North Asia to the spread of Indo-Aryan ideology (mythology) in the IV-III millennium BC (Bokovenko, 2000; Devlet, 1997a; Machinsky, 1997). Accordingly, solar cults on nizhnyaya Angara in this period either took other forms or were not perceived, which determined the dominant role of local priorities in spiritual culture, basic ideological positions. The latter explains both the conservatism of the taiga cultures and the degree of influence of the "Angara" visual traditions on the art of neighboring regions.

Conclusion

Based on the results of the stylistic analysis and statistical processing of the visual

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The main classification divisions of rock carvings in the form of masks and anthropomorphic figures with masks-masks are determined, and the "Kamensky" type of masks specific to the Lower Angara region is identified. Based on the classification of these images, using various methods and methods of dating, we can conclude that they are relatively synchronous, establish a connection with the circle of Okunevsky - type larvae, and tentatively assign them to the Late Neolithic-Early Bronze Age (III-II thousand BC). Having appeared in the Stone Age, anthropomorphic images in the form of larvae continued to exist in the art of the taiga tribes of the Lower Angara region up to the ethnographic present.

The variety of images and subjects in the petroglyphs of the lower Angara is explained by its border position between Eastern and Western Siberia, the Middle and lower Yenisei, and the presence of convenient communications in the form of an expanded hydraulic system. The increased concentration of rock carvings in the form of masks here (in contrast to other studied areas of the Angara region) is not so much a stadium phenomenon in the development of local ancient cultures, but a consequence of direct or indirect interactions with the cultures of neighboring regions.

The dominance of the local artistic tradition in the rock art of the lower Angara is manifested in the preservation of the main elements of the image of the "Kamensky" type of masks from the Neolithic era to the Early Iron Age; in the absence of solar symbolism in most of the masks, the predominance of vertical internal design, headdress in the form of a branched process. The influence of the Angara pictorial traditions can be traced in the pre-Okunev and Okunev rock carvings on the Middle Yenisei, the decor of Samus ceramics.

The revealed complex of petroglyphs, which is representative in volume and diverse in terms of expression, indicates that the Lower Angara region was one of the centers of primitive art, which significantly influenced the development of rock art and the worldview of the ancient population of Siberia and the Far East.

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The article was submitted to the Editorial Board on 25.01.10.

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