The article is devoted to a recently discovered petroglyphic monument in the upper reaches of the Pererechnaya Krasnoyarka River in the Ust-Koksinsky district of the Altai Republic. The drawings were found on massive slabs protruding from the ground. These are mainly embossed images of maral deer, as well as carved and partially scraped images of elk. The engraved drawings of anthropomorphic characters are unique. Petroglyphs of the Transversal Krasnoyarsk River, as well as the nearby Green Lake sanctuary, make it possible to imagine how the characteristic features of Karakol-Okunevsky art were formed during the advanced Bronze Age in the Altai.

Keywords: petroglyphic monument, engraved drawings, Karakol-Okunev art, advanced Bronze age.

Introduction

A compact complex of petroglyphs has been found in the upper reaches of the Transversal Krasnoyarka River (the southwestern source of the Krasnoyarka River in the Ust-Koksinsky district of the Altai Republic), near the border of alpine meadows and a steep waterfall, on flat horizontal outcrops of rocks on the right bank. Its coordinates are 50°07 '03.7" N, 84°50 '27.6" E Altitude 1974 m above sea level (according to the Baltic elevation system). The monument is located far from populated areas, in a remote highland area. We got to the petroglyphs from c. Kaitanak on horseback for two days. The last 10 km had to go through a swampy area, then climb to the snowfield on the northern slope of the dominant rounded mountain. At the south-eastern source of Krasnoyarka, near the lake. However, there are also rock carvings that are remarkable in content and artistic execution [Matochkin, 2004; Matochkin, 2004a, b; 2005; 2006]. The Transversal Krasnoyarsk River complex was studied during expeditions in 2007 and 2008.

The drawings are made on massive slabs located in the direction from west to east and protruding from the ground in stone waves running from north to south (Fig. 1). The extreme western monoliths near a small stream flowing from a snowfield have flat horizontal surfaces. They have the largest number of images marked on them. The slabs are made of sericite-chlorite slate with a smooth brown-cherry tan crust, convenient for embossing and engraving. And only at the edges near the ground is the surface so pitted with lichens that the traces of the tool are not visible.

Description of petroglyphs

The main array of petroglyphs is concentrated on the territory of 10 m from north to south and 30 m from west to east. There are six lines of tiles located here. There are 25 sections with drawings on them. Four more free-standing stones with single drawings were found within a radius of 100 m from the main group. The description indicates the number and distance of sections to the east of the western plate (distance from the previous one). the first northern line. Note the shape of a stone monolith if the petroglyphs are not located on a horizontal slab. Most of the drawings are made in the technique of knocking out; only cases of using carved techniques are specified. In addition to the images described below, there are cup depressions, amorphous spots, and curved lines.

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1. General view of the territory with petroglyphic plates in the area of the Transversal Krasnoyarsk River.

Line 1. Plot 1. Raised stone of sub-triangular shape. Dimensions 0. 8x1. 6 m. Contour image of a maral deer.

Plot 2, 3 m. Raised stone of rounded shape. Dimensions 1. 2x1. 8 m. Three pairs of red deer - females with males, two animals of indeterminate appearance, a carved image of an elk.

Plot 3, 1.5 m away. Dimensions 0. 6x0. 5 m. A couple of red deer.

Plot 4, 1 m away. The dimensions are 1. 0x0. 8. The same monolith. Female maral deer.

Plot 5, 1 m away. Dimensions 1. 0x0. 5 m. The same monolith. Three marals.

Plot 6, 1.5 m away. Dimensions 1. 0x1. 5 m. Two deer, a bear, carved figures of an elk and an elk.

Plot 7, parallel to uch. 6, 1 m to the south. Dimensions 0.7 x 1m. An incomprehensible schematic figure.

Plot 8, in 3 mot uch. 6. Dimensions 1. 0x2. 5 m. Maral and three moose; the figure of one moose is carved.

Plot 9, 2 m from uch. 6. Dimensions 1. 0x5m. A lot of barely noticeable scratched lines. Carvings: three moose, a woman, the heads of an elk and a deer, a hoofed animal. Two scraped figures (lizards?). Embossed figures of four marals, three animals of indeterminate appearance.

Plot 10. Dimensions 0. 6x0. 9 m. The same monolith, after the crack. The carved image of an elk is overlaid with an embossed image of a maral deer with large horns; under the feet of the elk is a carved figure of a hoofed animal.

Plot 11, 0.5 m to the south. Dimensions 0. 4x1. 5 m. Carvings: moose, oblong sign, two zoomorphic figures. A scraped moose figure. An embossed image of an animal.

Plot 12, 1 m north, parallel to uch. 10. Dimensions 1x2 m. Maral.

Line 2 1.5 m to the south. Plot 13. Dimensions 0, 9x4, 0 m. Sixteen marals, elk, fox, two indeterminate animals.

Line 3 in 2 m to the south. Plot 14. Dimensions 1, 0x4, 5 m. Twenty marals, an elk, two zoomorphic figures (lizards?), two birds, four bears, a goat, a predator, three indeterminate animals.

Plot 15, 1 m away. Dimensions 0. 8x2. 5 m. A pair of maral deer, a lizard (?), a carved anthropomorphic figure, a female maral.

Plot 16, 1 m away. Dimensions 1. 5x1. 5 m. Female maral.

Plot 17, 2 m. Stone sub-triangular shape. Dimensions 2x2 m. An incomprehensible composition with a circle, an anthropomorphic character, a pair of marals, a female maral, three wolves, a dog, a goat, a hunting scene with an archer and two moose. Plot 18, 1 m away. Dimensions 1. 5x3. 5 m. Many carved lines. Carved images: moose, elk bird, fruit. Embossed figures: four moose, two anthropomorphic characters, a snake, two wolves, two deer, a hoofed animal, five goats.

Plot 19, 2 m away. Dimensions 1x2 m. Lots of carved lines. You can guess the scraped silhouette of a maral deer. Cross-shaped embossed figure.

Plot 20, same monolith. Dimensions 0. 8x2. 0 m. Two zooanthropomorphic figures (lizards?).

Line 4. Plot 21, 1.5 m south of line 3. Dimensions 1.2 x 1m. Female maral deer.

Plot 22, 19 m. Dimensions 1. 0x2. 5 m. Three marals. Line 5. Plot 23, 5 m south of uch. 18 line 4. Dimensions 1x4 m. Fox.

Plot 24, 6 m away. Dimensions 1. 0x3. 0 m.Maral. Line 6. Section 25, 2.5 m south of line 5, parallel to uch. 17 of line 3. A pair of marals. Plots on separate tiles. Plot 26, 15 m south of uch. 25. Dimensions 0. 5x1. 0 m. Goat.

Plot 27, 40 m north-east of uch. 1. Dimensions 1x3 m. Female maral deer. Zoomorphic image of an indeterminate shape.

Plot 28, 100 m south-west of uch. 1. Dimensions 0. 4x1. 0 m. Syncretic animal.

Plot 29, 100 m west of plot 1. Dimensions 0. 7x0. 7 m. Maral.

The repertoire of petroglyphs reflects the art of taiga hunters; images of two crafts predominate. -

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wild animals - elk and maral. 154 drawings were identified, including images of marals-more than 50 %, moose-15, anthropomorphic characters-4, predators-8, goats-4 %.

Embossed animal images

The main array of petroglyphs is images of maral deer. They are embossed in a silhouette or wide contour, often with a silhouette study of the head and neck. A distinctive feature of the monument is a large number of paired images of animals, mainly marals: 60 % are closely located figures of a male and a female. In some places, their silhouettes overlap to form a palimpsest, or have a common outline line or are connected by an embossed line. Most often, animals are shown in slow motion, they follow each other. Similarly, figures are depicted on the central plate 14, from which line 3 begins. In addition to marals, here you can see birds and bears walking in pairs. Next to them are two figures of some Chthonic creatures that resemble lizards most of all (Fig. 2). Their analogs include zoomorphic clay images of the Irmen culture of the Bronze Age, discovered during excavations at the Abrashino-1 settlement (Western Siberia) (Molodin, 1992, Figures 63, 64). Similar creatures are depicted on two other sites. In uch. 9, they are captured by scraping off the tan crust. Their forms are more pointed than in other cases; amorphous outlines are hardly visible, and patina in tone stands out weakly against the background of neighboring sections of the plate. In uch. 15, a lizard figure is carved under a maralukha, whose leg and hoof partially overlap the forelimb of the reptile (Fig. 3). Two more difficult-to-identify images are embossed in uch. 20 (Fig. 4). The western one resembles the Irmen plastic of the Bronze Age, the eastern one - a syncretic zooanthropomorphic creature, depicted full-face, with outstretched limbs and a bulky torso.

Large tiles are characterized by a chaotic arrangement of images. The top and bottom are not actually defined here. Animals seem to float in space; they are shown in completely different positions, as if falling from above or taking off. Apparently, this is an arbitrary distribution of images of animals on the surface, their density is a reflection of the desired ubiquitous and abundant distribution of living creatures in nature. The drawings were probably created to turn this idea into reality.

Petroglyphs on large and smooth western slabs in the center are distinguished by a lively and juicy stylization. However, on single peripheral sections of an ICO-

Fig. 2. Embossed images on uch. 14. Eastern fragment of the plate. Cross Cutting.

Fig. 3. Images of maralukha and lizard (?) at uch. 15. Transversal Krasnoyarsk.

Fig. 4. Two zooanthropomorphic figures (lizards (?)) on uch. 20. Transversal Krasnoyarsk.

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the nographic canon has degenerated into dry schematism. This indicates that individual images in mechanical repetition continued to appear here for quite a long time.

In the petroglyphs of the Transversal Krasnoyarsk River, it is impossible not to note the amazing poetry of images of two individuals of different sexes. The figure of the female is usually made according to the silhouette and more accurate embossing. The animal is depicted with a saggy belly, high ears and shortened legs. The artist deliberately lengthened the neck, gave the horns a refined shape, and the whole appearance - refinement (Fig. 5).

Plot compositions

Uch. 17 presents several compositions. In the southern part of the slab, figures of a large goat and a wolf chasing it are carved, in the middle part-a running hoofed animal and two predators tracking it. Above these scenes is an anthropomorphic character with a dog. All these images are made in a rather rough technique and differ markedly in style from the petroglyphs on the central slabs.

More thorough work with the instrument distinguishes the composition in the north-western corner of the plot. An arc moves away from the anthropomorphic character's hand. At the bottom, this curved line is interrupted by an incomprehensible figure; although its borders are clear and there are no losses, it is unreadable and does not cause any definite associations (Figure 6).

The hunting scene on the south-eastern edge of plot 17 was created in an elegant, small-point pattern. These are the most miniature images on the monument. The hero of the scene is an archer with his legs spread apart, a gorit on his belt, and his right arm outstretched. The hunter is targeting moose, but the bow is not shown. It is characteristic that two animals located at a distance are smaller in size than humans. In the area of the back, they have a large deflection.

In the upper part of the plate on uch. 18, an anthropomorphic figure is represented with open arms, huge fingers and emphasized signs of the male sex. The hero is depicted in a powerful movement in a southerly direction. Above it is a snake, and to the right-a rounded spot. The anthropomorphic figure is surrounded on both sides by two predators, probably wolves (Figure 7).

Researchers refer characters with hypertrophied hands to the category of thunder gods

Fig. 5. Images of two marals at uch. 22. Cross-cutting Krasnoyarsk.

Fig. 6. Compositions on uch. 17. Cross cutting.

Fig. 7. Compositions on uch. 18. Drawing. Cross Cutting.

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[Semenov, 1999, p. 182; Martirosyan, 1981, p. 1-56]. Similar images are found on the Upper Yenisei, in Armenia, Transcaucasia, the Alpine zone, and Mongolia (Tsagan-Salaa) (Jacobson, Kubarev, and Tseveendorj, 2001, N 604, 605, 608).

The Thunderer is one of the central characters of ancient Indo-European mythology. He usually lives above - in the sky, on a mountain, on a rock. The enemy in the form of a snake-like creature is under the mountain, he hides behind a rock stolen cattle. The God of Thunder, breaking the rock, frees the animals. The snake initially hides under a tree or stone, and then hides in the earth's waters [Ivanov and Toporov, 1975, p. 54; 1980, p. 530].

There is no direct connection between the mythological plot and the embossed composition: the serpent is depicted above the hero's head. It can be assumed that the composition is closer to the motif known in Altai of the partial defeat of the great worm Urker by the divine warrior, who escapes by ascending to the sky and turning into Pleiades (Ivanov and Toporov, 1974, p. 150). In some traditions, the thunderer also takes part in the heavenly wedding and appears as a deceived husband (Ivanov and Toporov, 1980, p. 529). It is possible that the anthropomorphic figure with legs spread slightly lower, possibly female, is related to this plot.

Graffiti

Carvings and scraped-out drawings are found in several areas; they are barely visible and in most cases unreadable. Carving was done with a thin tool that left long shallow traces in the form of lines. Scraped shapes are also poorly viewed, and their borders cannot be accurately determined.

Engraved images of moose are divided into two stylistic groups. The first one includes two drawings on the best uch. 9 and 14 in the center of large and even slabs. Animal figures are shown naturalistically and are modeled in silhouette using a large number of fine strokes: on the front leg of the moose on uch. 14 there are at least 12 of them. On the ears, such strokes are not visible at all; the master removed only the upper crust of the rock tan. At uch. 9, scraping was used to a greater extent. The contour is formed by drawing a series of closely spaced lines or using a wide tool. In general, lines are not fully recognized here as an important means of artistic expression; with their help, the master tried to give the closest idea of nature and highlight the space of the silhouette by hatching (Fig. 8).

Fig. 8. Palimpsest on uch. 14. Transversal Krasnoyarsk.

Fig. 9. Image of an elk on uch. 9. Cross-section of Krasnoyarsk.

Animals are shown in a calm step, with four legs, which are interpreted in a conventional manner. In uch. 14, the moose is depicted without hooves, and in uch. 9, the limbs are in the form of a weave of threads ending in long thin points. The hind legs seem to be attached to the body, the front legs are also unnaturally drawn to the stomach (Fig. 9). Volume is not thought of here, there is no combination of projections. Between the hind legs there is a triangular notch extending from the top above the level of the abdomen. In this way, ancient artists probably emphasized the fertile place of the female. Probably, this technique was the starting point for the formation in the art of developed bronze of a specific display of the rear croup - as if unfolded full-face.

Presumably, the combination of naturalism and conventional figurativeness expresses the semantic duality of the image of an elk - a real animal and a sacred symbol-noted by researchers.-

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a person of divine origin (Markdorf-Sergeeva, 2003, p. 78). The moose itself can act as a symbol of the universe [Okladnikov, 1959, p. 70].

Analogs of these carvings are not known. They also do not fit into the summary of images of moose on Siberian scribbles, which are given by V. I. Molodin, [1993, Fig. 2]. Moose heads of the Transversal Krasnoyarsk Region are executed in different ways. Thus, in uch. 14, the animal has its head lowered, which is not typical for moose from other Siberian petroglyphic complexes.

The second stylistic group is more numerous and is represented by images in peripheral areas. These include polygonal figures of moose with two legs, which are usually larger than in the central sections. The moosehia in uch. 9 has three legs: one front and two rear, with a deep curved recess between them (Fig. 10). "Trekhnozhie", as noted by V. D. Kubarev , is a feature of images near the caves of Kuyusu, Kuylu, on a boulder in the water area of Lake Baikal. The Bulak Muzd (Altai), as well as the Tsagaan-Salaa/Baga-Oygur complex, and the Aral-Tolgoi sanctuary (Mongolia), created in the Eneolithic - Bronze Age (2007, p. 116). We can say that the drawings of the second stylistic group are made according to a certain iconographic canon. It is characterized by the absolute flatness of a static shape, smooth outlines of the figure and the same type of reduction of the legs to the points. The silhouette remains unshaded, and the outline is given in a significant generalization in one continuous expressive line. The outline of the head resembles a parabola, but the details of the moose face are not transmitted (Fig. 11). It is clear that such an evolution of the artistic method to the chiseled rigor of lines should have taken quite a long time.

The connecting link between these groups can be considered the image of a deer with horns on uch. 10, in the area of the head and neck of which several carved and scraped lines are added. The two thin forelegs are almost merged into one, and the hind legs are engraved with a gap in the contour between them (Figure 12). 6. The outline of their bodies is outlined by two parallel lines; their very thin and long legs hang in pairs vertically downwards without any hint of movement. The lines of the forelimbs and hind legs start above the abdominal line, and there is no connecting contour between them (Figure 13).

Fig. 10. Image of an elk at uch. 9. Drawing. Cross Cutting.

Fig. 11. Carvings on uch. 9. Drawing. Cross Cutting.

Fig. 12. Palimpsest on uch. 10. Drawing. Cross Cutting.

Fig. 13. Carved images of moose on uch. 6. Drawing. Cross Cutting.

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In the graffiti array of the second group on uch. 18, an original composition was found: an elk with a fan of ears, and under its feet among the rounded, not always preserved outlines - a miniature creature shaded with a number of parallel lines (its fruit?). Above the female, another elk (male?) is engraved diagonally. Unfortunately, due to the loss of the surface layer, the drawing is not fully restored. The most interesting thing is that the elk has a bird's head with a strange crest (?) and an elongated sharp beak (see Fig. 7). A similar pair scene with realistic animals is carved later on the same slab over the carved composition. In the female, three appendages come out of a fertile place-apparently, according to the observations of ancient hunters, a calf is born.

On uch. 8 there is another carved image of an elk (Fig. 14, a). In it, the smooth, soft outline of the contour was replaced by sharp, geometrized ones. The legs appeared as narrow, shaded triangles. The static and inner harmony of the image disappeared, and dynamism and expressiveness prevailed decisively. This image with a diagonal, as if falling motion correlates with the image of an Okunevsky moose at Ozernaya Mountain (Middle Yenisei; Fig. 14, b) [Leontiev, Kapelko, and Esin, 2006, Fig. 23]. The figure of a carved elk on uch. 8 is partially covered by an embossed image that can be attributed to the Karakol culture. These facts indicate that the latest carved petroglyphs were created in the Karakol period, i.e. at the beginning of the second millennium BC. BCE

Figure 14. Images of animals. Drawing.

- a uch. 8, Pererechnaya Krasnoyarka; b-Ozernaya Mountain, Okunevskaya culture [Leontiev, Kapelko, Esin, 2006, Fig. 23].

Fig. 15. Female anthropomorphic figure on uch. 9. Drawing. Cross Cutting.

Fig. 16. Male anthropomorphic figure on uch. 15. Drawing. Cross Cutting.

Anthropomorphic images

On uch. 9, an unusual anthropomorphic figure is carved (Fig. 15). It is extremely concise; it highlights the flattened oval of the vulva and the rounded head. The artist showed a special interest in the hairstyle. Such attention to hair styling is typical for the miniature sculpture of the Okunev culture and the anthropomorphic figure from the Bronze Age burial ground near the village. Ozernoye in Altai (Pogozheva and Kadikov, 1979, p. 84).

Another carved anthropomorphic character was found on uch. 15 between two broken deer (fig. 16). It is shown in a characteristic combination of projections, as in plate 1 of the Green Lake Sanctuary. Lines that outline the torso and emphasize facial features are difficult to see. The head is given full face, as if by itself, without any connection with the trunk.

Temporary ownership of images

For the dating of anthropomorphic images, the indicated carved figure on uch. 15 is key. Its closest analogue is Figure No. 5 on plate 2 of border 2 from the Second Karakol Mound (Kubarev, 1988, Fig. 23). It is shown with this

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the same slope and combination of projections, without hands (instead of them-also barely noticeable strokes). Geographically remote analogs are engraved images of the Okunev culture in Tas-Khazaa [Vadetskaya, Leontiev. Maksimenkov, 1980, fig. 12]. Their descriptions, compiled by E. B. Vadetskaya, are fully consistent with the type of Altai character: "All the faces of the anthropomorphic figures have two eyes, one line across the face and no nose... The torso of little men from Tas-Khazaa... with long and thin legs, no neck, broad in the shoulders and narrowed to the stomach. In its outline, the torso resembles a person with arms stretched out and pressed to the body, as if wrapped in swaddling clothes " [Ibid., p. 68].

The connection between the Karakol and Okunev figures and the character of the Transverse Krasnoyarsk Woman is undeniable, but the first ones, presented in masks or in a syncretic appearance, look more canonical. The anthropomorphic Crosscut character impresses with the expressiveness of the face and not so rigid outlines. This indicates the variability of the style of Karakol-Okunev images.

Elk figures with naturalistic elements on the central plates probably also belong to the same temporary layer of advanced bronze petroglyphs, since they reflect, albeit in a rudimentary state, the characteristic technique of showing the back of the body and hind legs, as if unfolded full-face. V. I. Molodin called this feature a substantial element in the style of Karakol-Okunev art [1993, p. 11].

To determine the temporal affiliation of the carved petroglyphs, the image of a maral deer on uch. 18 is important.This figure of a female is surprisingly similar to the figure depicted on plate 1 of the Green Lake Sanctuary. It follows that the embossed images of the Cross-section of Krasnoyarsk also belong to the Karakol culture.

The above considerations suggest that the images found in Cross-Cutting palimpsests were created during the Advanced Bronze Age. This conclusion is consistent with typical examples of image overlays observed both in the Okunev culture of the Yenisei region and on funerary slabs of Karakol. Moreover, as noted by V. I. Molodin, both Karakol and Okunev monuments are characterized by a combination of different methods of drawing images - by embossing and engraving [Ibid., pp. 13-16].

Conclusion

Petroglyphs of the Transversal Krasnoyarsk River are a vivid monument of art of the Gorny Altai of the advanced Bronze Age. Its uniqueness lies in the presence of engraved and embossed images of animals of a high artistic level. The accompanying anthropomorphic images are also important. The additional scientific value of the monument is given by the fact that nearby, also in the upper reaches of the Krasnoyarsk River, there is the Green Lake sanctuary with drawings of the Karakol culture (the rock type near the Green Lake did not allow creating graffiti). Both of these complexes existed before the expansion of the early nomads: they do not have images in the Scythian-Siberian animal style. However, the drawings of these monuments still differ thematically. If Zelenoozersk compositions are devoted to magical subjects, then in the complex of Transverse Krasnoyarsk Territory, paired or single figures of red deer and elk predominate. The question arises: why is the main graffiti array of the new monument dedicated to the image of an elk, and the embossed petroglyphs-to marals? As follows from the analysis of palimpsests, images of elk appeared here earlier. The transition to the ubiquitous depiction of maral deer was most likely due to a change in the paleofauna, in particular, a decrease in the number of elk due to a noticeable cooling of the climate during the Advanced Bronze Age (Maloletko, 2002, p.45). Probably, the former cult of the elk was replaced by the veneration of the maral, so palimpsests with another hero appeared on top of the previous images. The development of new ideas could lead to the creation of images associated with magical effects on nature. Since the central slabs of the Crosswalk were already covered with drawings, art at a new stage was developed in the Green Lake sanctuary. There it, being prepared by the development in the complex of Cross Krasnoyarsk, reached the highest artistic level.

All these events took place at the same time and manifested themselves in a dynamic change in visual activity. The changes were reflected not only in the transition from embossed paired images of maral deer to complex magical compositions, but also in a fairly rapid change in the style of engraved elk - from naturalism to generalized iconography. In this regard, it is important to note the correspondence of the pictorial canon formed in the process of evolution of the image of the elk (moose figure on the peripheral uch. 8) Okunevskaya iconography. It shows that the petroglyphs of two adjacent complexes of the Transversal Krasnoyarsk River and Green Lake provide a rare opportunity to analyze the formation of the characteristic features of Karakol-Okunev art during the advanced Bronze Age in the Altai.

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The article was submitted to the Editorial Board on 05.03.09.

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