The article introduces the materials of a new study of the early rock art formation of Maloarbatskaya Pisanitsa, located in the Western Sayan Mountains on the southwestern periphery of the Minusinsk basin. The drawings are made in red paint and date back to the end of the III-beginning of the II millennium BC. Two stylistic groups are distinguished, one of which is comparable to the early images of the Okunev culture in the steppe part of the basin, and the second - with the Joi style of the mountain taiga regions. It is concluded that the genesis of this style is based on Early Okunev art, but under the influence of the own traditions of the Neokunev population of the southern periphery of the Minusinsk basin.

Keywords: Central Asia, Southern Siberia, Minusinsk basin, Bronze Age, rock art, Okunevskaya culture, Joi style.

Study history

Rock carvings on the Malye Arbaty River in the Western Sayan Mountains, at the beginning of an ancient horse trail leading from the Minusinsk Basin to the northwestern regions of Tuva, have been known since the mid-19th century. All of them are made with mineral paint of various shades of red and stand out with an undoubted originality against the general background of rock art in the steppe part of the Minusinsk basin. These images were discovered for scientific study by the geographer I. P. Kornilov, who sketched and published some of them [1854, p. 635]. Some information about the monument is contained in the works of other authors of that time. Later it was examined by archaeologists A.V. Adrianov [1888, p. 141-142], N. V. Leontiev [1970, 1978, p. 97, fig. 8], L. R. Kyzlasov [1972, p. 296], Abakan artist V. F. Kapelko (see drawings on the flyleafs of the album [Petroglyphs..., 2010]). Pisanitsa was included in the summary of rock art monuments of the Minusinsk basin, published by E. B. Vadetskaya (1986, p. 165).

The Maloarbat scribble was studied most thoroughly in 1969 by N. V. Leontiev [1970]. He divided all the drawings into two chronological layers: the Early Bronze Age and the ethnographic time. The first one is represented by 15 anthropomorphic faces, the second one is represented by a series of tamgo prominent and zoomorphic images. On the basis of comparison with the drawings on stelae from the steppe part of the Minusinsk basin, N. V. Leontiev attributed the layer of the early Bronze Age to the Oka Neva art and singled it out in a special Joy style [1976, p. 136]. The Maloarbat scribble was recognized as the earliest among other scribbles of the Joi style [Leontiev, 1978, p. 97]. After the publications of N. V. Leontiev, it became one of the reference monuments in the study of the art of the region of the Early Bronze Age.

In 2009, I conducted a new study of the Maloarbat scribble. It made it possible to expand and refine the existing source base.

The work was carried out within the framework of the program of fundamental research of the Presidium of the Russian Academy of Sciences "Historical and cultural heritage and spiritual values of Russia".

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This publication, based on the results of this study, has two main objectives:: 1) introduction to the scientific circulation of the obtained materials on the early image formation; 2) analysis of the problems of chronology and cultural and historical content of this formation using the updated source base.

1. General view of the Maloarbatskaya pisanitsa from the east.

Figure 2. Layout of conventionally selected areas with images.

Figure 3. A fragment of the central section with multi-time images.

Brief description of the monument and research methodology

Maloarbatskaya pisanitsa is located in the Tashtypsky district of the Republic of Khakassia, 6.4 km from the village of Malye Arbaty upstream of the river of the same name (khak. Kichig Arbeit), on its right bank, on the rock outcrops of the south-eastern tip of Mount Arbeit (Fig. 1). This rock today has the Russian name Pisanets. Several Khakass names are recorded for it: Piselig haya (Rock with drawings), Pechig haya (Rock with writing), Chigirat haya (Game horse-rock).

The Malye Arbaty River, a right tributary of the Abakan, originates in the Joiskiy Ridge of the Western Sayan. The landscape in its valley is mountainous taiga. However, in the lower reaches there are sedimentary areas that have probably arisen as a result of human activity. They are sufficiently moistened and have a high herbage, used by local residents for summer grazing and hay harvesting. The entire flora and fauna of the Western Sayan is represented in the surrounding mountains. The Abakan River and its tributaries are rich in fish.

In recent years, a number of different archaeological sites have been discovered in the vicinity of Pisanitsa. Among them are sites of the Stone Age and Early Bronze Age on Semyonovoye Ruche and in the area of the former village of Kuibyshev (V. S. Zubkov's research), mounds of the Tagar culture a few kilometers from Pisanitsa downstream of the Malye Arbaty River, which indicates the attractiveness of these places for people from ancient times.

The rock on which the images are applied is composed of gray-green glauconite sandstones. On the east side of it, the Pisansky Klyuch flows through a log stretched along the line of the NE - SW. It bends around the cliff from the south and after 100 m flows into the Malye Arbaty river. The rock outcrops with the images face south and are elongated along the 3 - B line. Their length is approx. 25 m, their height is up to 16 m. The rock has a slight negative slope. The images are painted with mineral paint in red, dark crimson, reddish and brown shades. The raw materials that were used in ancient times to make it are probably of local origin. In any case, a layer of sediments with a close to dark crimson hue was found during the inspection of a modern quarry.

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near the south-south-eastern outskirts of the village of Malye Arbaty. The rock surface is very uneven, broken up into many separate blocks and small planes. Features of the terrain allow us to divide it into five conventional sections (Fig. 2):

1. Central. Length 10.5 m. In front of the cliff is a large platform with a width of approx. 3 m. In the middle of the site at the base of the rock there is a step. At a height of 0.45 to 3.2 m, 16 images of the Bronze Age were recorded (Fig. 3).

2. To the right of the first one. Relative to the site 1 protrudes to the south by 0.7 m, and relative to the site 3 located even to the right - by 2.5 m. Length 3.2 m, height 2.6 m. Two images were recorded at a height of 0.8-1.26 m from the ground.

3. To the right of plot 2. Length 4.7 m, height approx. 3 m. Five images are recorded at a height of 1.1-1.7 m from the ground.

4. Above the plot 2. Convenient ascent from the side of the plot 3. The length of the platform available here is 2.7 m, width 1.7 m, height 2.8 m above the ground. One image has been preserved at a height of 1 m above the site.

5. To the left of plot 1 and at a slight angle to it. Rock outcrops are elongated along the SPZ-SE line. The length of the plot with drawings is approx. 6 m. One image was recorded at a height of 0.34 m from the ground.

The drawings are poorly preserved. In many places, due to natural moisture, the paint has spread or been washed away, the images have turned into amorphous spots, partially or completely disappeared. Even more dangerous is the exfoliation of the surface crust of the stone, caused by repeated freezing and thawing of moisture in cracks during seasons of sharp temperature changes. This process will continue. In addition, modern inscriptions and paint drawings damaged some images and disrupted the overall appearance of the monument.

When copying, natural or artificial moistening of the rock surface was used, which makes the paint color more saturated and allows you to identify drawings that are invisible or barely noticeable in other conditions. The best results were obtained by studying the scribble in the morning hours in diffused light after a strong and prolonged night rain and fog, which moistened the stone for a long time and evenly. When copying, the most fully preserved and recognizable images were recorded. In addition to them, there are many remnants of lost drawings on the rock, represented today by fragments of lines, spots and streaks of paint. When moistened, they can be found on almost all convenient planes of the central area. Images were copied with water-resistant markers on a transparent film, which was attached to the rock with paint tape or low-fat plasticine at two or three points so that one of its edges could be lifted. This is necessary for periodic moistening of the stone surface and detailed study and refinement of the often barely noticeable lines of the drawing, since even the most transparent film slightly refracts and scatters light, preventing accurate tracking of barely noticeable dark paint on a dark stone background.

Image description and analysis

Images of the Maloarbatskaya scribble are clearly divided into two groups by subject, style, color of paint, and preservation, as N. V. Leontiev already noted. The first one is represented by anthropomorphic faces painted mainly with crimson paint, which has turned pale, is poorly visible, and is often covered with calcite deposits. The second group includes images of animals and various signs, usually made in dark red, brownish, orange and pinkish paint of different shades, its color is brighter. The preservation of the paint indicates an earlier age of the drawings of the first group. This conclusion is confirmed by the facts of applying images of the second group on top of them (Fig. 4), as well as tinting (updating) the details of most anthropomorphic faces with paint used to create drawings of the second group. A later age of the latter is also indicated by the presence of only such images on relatively fresh areas of the surface, which appeared after the peeling off of the ancient rock crust or the shedding of entire fragments of rock (for example, in the center of section 1 above the surface).-

4. An example of overlapping drawings of the Early Bronze Age with tamg-shaped images of ethnographic time in the central section.

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com). In contrast, the drawings of the first group are found only on ancient surfaces.

By style, faces can be divided into two main subgroups. The first one includes the simplest faces (Fig. 5). Their most important distinguishing feature is a single horizontal line or an oblique cross between the eyes and mouth, and all lines without any forks at the ends or additional elements. All faces are drawn without a contour, only one has an upward-curved arc drawn over the upper half. There are usually only two eyes, they are represented by silhouette circles or silhouette or contour ovals (in two cases horizontal, in one - inclined). A very important stylistic feature of one image is the symmetrical slanting lines above the eyes. In another drawing, there is a circle in the upper part, which probably represents the third eye, or it is the lower part of a poorly preserved element in the form of a vertical serpentine line above the face. The mouth is shown as a silhouette or contour oval in all images. In one case, two vertical arches curved towards the mouth are symmetrically located on the sides, in the other-the corners.

The small number of images in the first subgroup makes it difficult to classify them. However, according to the basic principles of organizing the internal structure of faces, at least three types can be distinguished: 1) with a horizontal line dividing the interior space into two tiers (fig. 5, 1 - 3); 2) divided into zones or sectors using an oblique cross (Fig. 5,5); 3) divided into two tiers and the upper tier into horizontal zones (Fig. 5,4).

All the faces of the first subgroup are found only in the central part of pisanitsa and are obviously the earliest on this monument. In addition, one of them (Figs. 5, 7) is drawn on a single ledge on the rock, resembling a human head in shape. The closest analogs of these images - two-eyed faces without a contour with a single horizontal line in the middle-are known on stelae of the Early Okunev period from the burial grounds of Uybat III and V [Leontiev, Kapelko, Esin, 2006, N 232-235], Uybat-Charkov, Itkol P. They are also characterized by symmetrical oblique dashes above the eyes. One face of this type also has arches on the sides of the mouth [Ibid., N 162]. An arc delineating only the upper contour of the head is also present in one drawing of the Early Ookunian style (Esin, 2000, Fig. 4). It is also found in two three-eyed images on stelae (Leontiev, Kapel'ko, and Esin, 2006, N56, 29).

The third eye and a fragment of a vertical serpentine line are comparable to the traditional elements of Okunev faces on stelae in the steppe part of the Minusinsk basin. However, these images are not the earliest. Among the early Okunev drawings in the steppe part of the Minusinsk basin are faces with an oblique cross between the eyes and mouth. However, they are not typical of the eyes shown by contour ovals, also located obliquely, as in such a face of the Maloarbatskaya pisanitsa. An image close to it, but with silhouette eyes, also painted with paint, is available on the Shalabolinsky scribble.

The second, more numerous subgroup of faces (Fig. 6) is also characterized by the absence of a contour, the image of only two eyes. Against the background of the first one, it is distinguished by forks in the form of a snake's tongue at the ends of the lines located between the eyes and mouth, as well as a more complex image structure (the presence of a larger number of lines between the eyes and mouth, additional elements). The eyes and mouth are usually shown along the contour. Not only round eyes are characteristic, but also in the form of inclined ovals, inside which there is sometimes a small silhouette oval. Most of the images have corners drawn on the sides of the mouth.

Anthropomorphic faces of the second subgroup can be preliminarily divided into several types based on differences in their internal structure. A distinctive feature of the first one is the presence of only horizontal lines between the eyes and mouth. All of them have forks at their ends (Fig. 6, 1-4).

The second type includes an image with three horizontal lines between the eyes and mouth. Unlike the faces of the first type, only the middle one is straight, with forks, and the other two are arched and have sloping dashes at the ends. In general, these three lines represent two open mouths of a predator connected in one whole, directed in opposite directions. The middle line is an image of a snake's tongue, and the upper and lower lines are the contours of a mouth with fangs (Fig. 6, 5). The same two mouths are shown somewhat differently in another drawing (Fig.6, b). At the same time, two concentri are shown in the middle of the face-

5. Anthropomorphic faces of the first subgroup of the Maloarbatskaya pisanitsa.

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6. Classification of anthropomorphic faces of the second subgroup of the Maloarbatskaya pisanitsa.

1, 3, 4, 6 - 8, 10 - plot of land 1; 2, 5, 9, 11 - plot 3; 12-plot 4; 13-plot 2.

both sides of the oval. They can be perceived either as additional mouths, or as the head and eye of the beast to which the mouths belong.

The third type can be attributed to one anthropomorphic face with four arched lines between the eyes and mouth. They are arranged symmetrically in pairs in two tiers, their ends with forks pointing to the sides (Figs. 6, 7).

In faces of the fourth type, the space between the eyes and mouth is divided not into tiers, but into horizontal zones (Figs. 6, 8-10). In one drawing, this is achieved by two vertical arcs separating the eye circles from each other and from the mouth line. In another image, the upper parts of such arcs are reduced, and on the sides there are" processes " in the form of snake tongues. The third face has a corner between the eyes with the top facing up. This is a schematic representation of the snake's mouth, because inside there are remnants of the tongue line, and on top of the corner there is a sinuous line of the snake's body. From its bends, "processes" with forks at the end branch out to the sides, similar to the features of images of snakes on some stelae of the Okunev culture [Ibid., N 198, 252]. Vertical arcs are located on the sides of the face.

The fifth type includes images whose structure combines the division into tiers by horizontal lines and the upper tier into zones by vertical or inclined lines (Figs. 6, 11-13). One face between

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the eyes and mouth have one horizontal line with forks at the ends, the other two have two. In the first case, an oblique cross is most likely depicted between the eyes, in the second-two vertical arc-shaped lines with forks or three dashes at the upper ends.

Based on the set of features, the images of the second subgroup belong to the so-called Joy style. It was identified by N. V. Leontiev and named after a large rock art monument at the mouth of the Joy River (1976, p. 136). This river originates on the same ridge as the Malye Arbaty river, but is a tributary of the Yenisei. By dividing into tiers by two horizontal lines, combining horizontal lines with two vertical arcs in the upper tier, such images are comparable to the classical Okunev faces on stelae from the steppe part of the Minusinsk basin. Some of these faces also have forks at the ends of the lines that define their internal structure.

Despite the differences between the subgroups, there is no doubt that the second one is consistent in its main technical and stylistic features. It manifests itself in the method of drawing drawings, the color of paint, the absence of a contour in the faces, the presence of only two eyes, and the principles of organizing the internal structure. The existence of several types of faces within each subgroup is probably due to the presence of several depicted characters. In general, the selected subgroups can be considered as a reflection of the stages of evolution of rock art in the upper reaches of the Abakan River in the Bronze Age. It was certainly closely connected with the development of the pictorial tradition in the steppe part of the Minusinsk basin.

Joy style and art of Okunev culture

Previously, it was believed that the appearance of the Joy style was the result of the development of visual standards of the classical group of monuments of Okunevsky art, and the drawings in the Joy style are the latest among Okunevsky ones [Leontiev, 1976, p. 136; 1978, p. 97; Leontiev, Kapel'ev, Esin, 2006, p. 21; et al.]. However, the images of the Maloarbatskaya scribble indicate on the ritual use of the rock since the early Ookunev time. This allows us to put forward a hypothesis about the origin of the Joi style on the basis of the visual standards of early Okunev art, to which it is closest. In this case, the Joy style coexisted with the classic Okunevsky style.

The above hypothesis about the time of the appearance of the Joi style is confirmed by a slab from mound 1 of the Okunevsky burial ground Uybat-Charkov (Fig. 7) on the right bank of the Uybat River near the village. Charkov (excavations by I. P. Lazaretov 2009). It was installed vertically in the foundation of the entrance to the catacomb tomb 6, located under the western wall of the mound fence. On the light gray sandstone slab (84 x 52 x 18 cm) there are two images: embossed and painted. The first one is located on its wide plane and was turned towards the burial chamber. It resembles a footprint (21 x 15 cm, approx. 2 cm) with three or four fingers and probably created by working out a natural depression in the stone. The painted image is located on the narrow side of the slab. When laying the entrance to the catacomb, it was turned down to the ground. The painted drawing is an anthropomorphic face without a contour (25 x 16 cm). A horizontal line with forks in the form of a snake's tongue at the ends divides it into two tiers. The bottom one shows the mouth, represented by symmetrical corners that are the upper part of two slanted lines. In the upper tier with three circles the eyes are shown. Between them are two symmetrical arcs, curved to each other. There are symmetrical oblique dashes near the two circles. These circles are located on the narrow face of the stone, and the third, located above them , is at the very edge of the wide plane of the slab. The face is painted with red paint, but its preservation is not the same: on the narrow face it is good (except for small areas that have crumbled along with the surface crust of the stone), and on the wide one the paint is barely noticeable. Apparently, in this place it was exposed to a more active influence of the natural environment before the slab hit the mound. In order for the face to be perceived correctly, the plate must be in a horizontal position with the image of the foot up. Both sides where images are present, unlike the others, are eroded. This suggests that this plate was originally the upper part of a rock outcrop on one of the mountains in the Uybat River valley in the vicinity of the burial ground. The difference in the preservation of paint on different faces indicates that the drawing was created when the slab was not yet separated from the rock. It was in this case that the paint on the upper plane was exposed to a more intense destructive effect of atmospheric precipitation. In addition, it was in this case that the narrow face of the slab was convenient for drawing and ritual use of the face.

Such features of the face as forks at the ends of a horizontal line, lines in the form of a snake's tongue in the place of the mouth, lack of contour, paint execution, allow us to correlate it with the joy style. However, this is not a canonical image in this style. Rather, the drawing reflects the process of its formation. The face has the characteristic features of images of the Early Okunev period: slanted lines near the eyes, as in the drawings from the Tas-Khazaa burial mounds [Esin, 2009, Fig. 3, 1] and a Large Ring [Kirginekov, 2010, Fig. 5],

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7. Slab from grave 6 of mound 1 of the Uybat-Charkov burial ground.

1-general view; 2-reconstruction and unfolding on the plane of the anthropomorphic face.

combining the burials of Okunevites and Afanasievites, Uibat III (Lazaretov, 1997, Table XI, 3); only one horizontal line. At the same time, he no longer has two, but three round eyes, like the classic Okunev images. In addition, two vertical arcs are drawn between the eyes, which is also more typical not for early, but for classic Okunev drawings. This is the first time that a slab with an image in the Joi style has been found in the Okunev culture mound. It is important that according to the funeral rite and inventory, it belongs to the Early Okunev. Thus, this is another argument in favor of the formation of the Joy style at an early stage of the Okunev culture.

For cultural and chronological attribution of the slab, you should also take into account the image of the foot print available here. For the rock art of the Minusinsk basin, this is a very rare object. The image in the form of a foot, but without finger marks (like a footprint in shoes), is stamped along the contour in the lower right part of the rock art monument of the Okunev culture near the Beltyry station (Miklashevich, 2006, Fig. 9). Silhouette images of the prints of two feet in shoes are on the scribble of Boyars I [Esin, 2010, fig. 1]. They are stamped on top of the drawings that combine the features of the Minusinsk and Angarsk styles, and are overlaid with the figure of a komol ox in the Razliv style of the Okunev culture, which allows them to synchronize with the early stage of this culture.

Outside the Minusinsk basin, paired depressions in the form of footprints in shoes are known on the Green Lake rock art monument of the Karakol culture (south-west of the Altai Republic) [Matochkin, 2009, p. 149]. However, the researcher of the sanctuary could not determine whether they are of artificial or natural origin. These depressions are located on the upper part of the outcrops of light gray sandstone, which resembles the find from Uibat-Charkov. A series of drawings in the form of a foot print in shoes and without shoes is found among petroglyphs of Kazakhstan (Tamgaly, Terekty Aulie, southern slopes of the Karatau ridge [Rogozhinsky, 2001, Figures 8, 4, 5; Samashev, 2006, pp. 178-179]), Western Mongolia [Kubarev, Tseveendorzh, Yakobson, 2005, adj. I, fig. 331]. Foot images are known on seals and amulets of the Bactrian-Margian archaeological complex (Sarianidi, 1998, fig. 872 - 879, 1215.1, 1215.2, 1417.2]. Paired images of feet in shoes are stamped on some stelae of the Yamnaya culture of Eastern Europe (Suprunenko, 1990, Fig. 7, 3; Shilov, 1995, Fig. 33, 34]. On the stelae of the catacomb culture, the feet are not shown, but they are painted in red paint at the bottom of a number of burials near the feet of the deceased, and always with their toes pointing towards the exit [Sanzharov, 1989, p. 99; 2009, p. 40]. They are associated with the circle of ideas about the posthumous journey of the soul under the auspices of the deity. Perhaps, for a similar purpose, a plate with the image of a foot with the toe up was installed at the exit of the burial chamber in Okunevsky kurgan.

Palimpsests on two stelae from the Abakan River Valley are also important for determining the chronological correlation between the Joi style and Okunev art of the steppe part of the Minusinsk basin. In one case, the face of the Joya style overlapped the image of a "sun-headed" deity of the Early Okunev image [Leontiev, Kapelko, and Esin, 2006, N 292], in the other-a face with features of classical and late Okunev drawings [Ibid., N 202]. Typologically similar to the original drawing, Okunev images were found on stelae from the classical burial ground Chernovaya VIII and later Chernovaya XI [Ibid., N 119, 293]. In Draft XI, this face is combined with images of animals in the Razliv style, which are most characteristic of the late Okunev monuments [Savinov, 2005, p.32]. Similar to soche-

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This phenomenon was recorded on a fragment of a stele from the vicinity of Askiz village (Leontiev, Kapel'ev, and Esin, 2006, No. 188). These examples indicate the long-term existence of the Joy style.

Cultural and historical content of the Joi style

There are several possible explanations for the historical content of the Joy style: 1) it is the art of "some homogeneous cultural community close to the steppe Okunev tribes, but at the same time had some distinctive features" [Leontiev, 1969, p. 247]; 2) a series of such images reflects a late chronological stage in the development of Okunev culture art [Leontiev, 1976, p. 136; 1978, p. 97; Leontiev, Kapel'yu, Esin, 2006, p. 21; Savinov, 2006, p. 167, 168]; 3) the features of the faces of the Joy style are associated with the transfer of the image of a special character of Okunev art (L. R. Kyzlasov called him a "water spirit" [1986, p. 236], and I. P. Lazaretov - the patron saint of travelers [2011, p. 63]); 4) stylistic features are due to the special pragmatics of the drawings, which were the image of coloring the faces of participants in rituals [Devlet, 1997, p.245].

The results of a new study of the Maloarbat scribble and the discovery from the Okunevsky mound near po S. Charkov no longer allow us to explain the features of the Joi style by chronological reasons. There is no doubt that this style existed in parallel with the classical Okunev, and partly with the Early Okunev. The hypothesis of a special type of character is also not confirmed, since the classification of drawings of the Maloarbatskaya scribble demonstrates the presence of a number of different characters within the style. Many of them are comparable to the images of the steppe part of the Minusinsk basin, although they are not identical to them. Given the fact that, in addition to rocks, faces in the Joi style are also represented on several stelae, and not only as a secondary, but also as the initial and main image [Leontiev, Kapel'ev, Esin, 2006, N 129, 215, 284], the hypothesis of a special pragmatics of such drawings is unlikely. Like other early Bronze Age faces in the region, they depicted various deities and could be created on the occasion of important calendar holidays, as well as during rituals designed to provide patronage and protection from supernatural forces in a certain territory (a piece of terrain, a mountain pass, a river). The lack of contour in the faces of the Joi style may be a reflection of the ideas about the disembodied deities, their existence in the form of spirits.

For further analysis of the problem, it is of key importance that, unlike other stylistic groups of Okunev images that are widespread in the Minusinsk basin, all known drawings of the Joya style are found only in its southern part and adjacent mountains. From the standpoint of hypotheses about a special type of character or a special pragmatics of drawings, this fact is difficult to explain. If it was a special character who was revered by the native Okunev culture, or if the face painting was reproduced, which was one of the traditional elements of rituals, then why are the images in the Joy style not found on the Okunev monuments in the northern regions of the basin? Noteworthy is the location of the main monuments with images of the Joi style in a special natural and economic zone: along ancient trails and river paths in the mountain-taiga area of the Western Sayan (on the rivers Maly Arbaty, Joi, Kundusuk); in the foothills near the border of the forest with the steppe (stelae in Tashtypsum, Beisk, Askizsky and Ust-Abakan districts of Khakassia); in the steppe part, but on the coastal cliffs of large rivers that connect mountain-taiga regions with steppe ones (Ust-Tuba, Koroviy Log).

In this context, despite the close connection of the Joy style with Okunev art, there are doubts about the possibility of a complete identification of this phenomenon with Okunev culture. Rather, at the present stage of research, it can be considered as an adaptation of the pictorial tradition and beliefs of pastoralists of the steppe part of the Minusinsk basin to the traditions and beliefs of the Neokunev population of the forest outskirts in the south of the region. The Joi style is associated with a special group that lived here, apparently practicing mainly appropriating forms of economy, but having close contacts (marriage ties, exchange relations, participation in rituals). with pastoralists of the adjacent steppe regions, which is evidenced not only by the similarity of the structure, visual elements of the faces of the Joy style and images on the Okunev steles, but also by the presence of drawings of the Joy style on some steles in areas of joint or interstitial residence. In fact, the proposed explanation means returning at a new level to the hypothesis that was formulated by N. V. Leontiev after the first serious study of such images, but later almost forgotten.

If we consider the Joi style in the broader context of Central and North Asian art, it has no analogues outside the Minusinsk Basin. At the same time, as a phenomenon, it can be compared with images of Kamensky-type faces on the Angara River and a series of anthropomorphic faces on the rocks of Inner Mongolia (Devlet M., Devlet E., 2006, Table 6).

The upper chronological boundary of the Joy style is not yet clear. This tradition could also exist

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then, when the northern part of the Minusinsk basin was occupied by a new population, who left the monuments of the Andronovo archaeological culture. At the same time, the final change of cultural paradigms in the steppes of the Minusinsk basin, which occurred in the Karasuk era, probably could not but have an impact on the inhabitants of the forest margins, who had constant contacts with the population of the steppe regions.

List of literature

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Vadetskaya E. B. Archaeological sites in the steppes of the Middle Yenisei. - L.: Science, 1986. - 180 p.

Devlet M. A. Okunevsky anthropomorphic faces in a series of rock images of Northern and Central Asia // Okunevsky collection. St. Petersburg: Petro-RIF Publ., 1997, pp. 240-250.

Devlet M. A., Devlet E. G. Anthropomorphic faces as markers of ancient migration paths // Okunevsky collection 2: culture and its environment. Saint Petersburg: Elexis Print Publ., 2006, pp. 325-329.

Esin Yu. N. The statue from the village of Verkhny Askiz and the problem of chronology of Okunevsky art // Vestn. Siberian Association of Researchers of Primitive Art. Kemerovo: Kuzbassvuzizdat Publ., 2000, issue 3, pp. 18-21.

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The article was submitted to the Editorial Board on 31.05.11. The final version was published on 17.11.11.

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