Introduction

In September 2005, representatives of the Argut Nature Park Valery Babitov and Nikolai Kazatov showed me a rock with unusually large petroglyphs. This rock is located on the left bank of the Katun River just above the confluence of the Chui River, in the bed of a once-existing stream that made its way near the steep cliffs. These rocks seem to separate two worlds - the open path to the Chui Valley and the rock-enclosed Katuni Valley with a milder climate, suitable for agriculture. Powerful barriers over the river in the eyes of ancient man had, apparently, a special protective value, important for the strategy of survival. The rocky formations located near the cliff in the ravine provided a convenient plane for drawing drawings (Fig. 1). The coordinates of the monument are 50°23'176" N, 086°39'769" e. Altitude above sea level (according to the Baltic elevation system) 759 m.

The rocks are composed of indigenous outcrops of marbled white and light gray limestones. Their rounded, smoothed surfaces are covered with black lichen, which forms either a dot coating or a crust. This blackness is much more intense in the sun and weaker in the shade. So, under the body of a car that fell off a cliff a few years ago, the limestone is much lighter. The surface of the rock is quite flat, does not have any protrusions, but in places it is cut through by cracks. The dark crust is nostrate, rough, with small dimples.

The rocks are black in color, so it is difficult to assume that there are any drawings here. You need to go close to the image to see the contour groove. Although the embossment is quite deep, approx. 1 cm, it is quite difficult to fully see the animal figures. The problem with decryption is also that the images have blurred over time; the entire surface of the rock, including the broken grooves, is covered with dimples and small chips. Additional difficulties are created by black lichen, which completely covers the limestone.

Description of petroglyphs

To date, we have discovered two sites with drawings: on a large rock protruding from the southern slope, and a rock ledge 7 m east of it with a single image.

The first section contains petroglyphs with a height of approx. 16 m, a width of 9 m at the top and 4 m at the bottom (Fig. 2). Towards the base, the cliff narrows noticeably and becomes steeper: if you can still move along its upper part in dry weather,then it is impossible to stay in the lower part without insurance. So far, eight large images have been identified here, although the entire rock is covered with drawings and inscriptions from different eras (Figure 3). Additional research is needed to clarify them, as well as to decipher the remaining petroglyphs.

Chariots. The first section. In the planned projection of the upper left part of the cliff, two light steam-horse sledges are located almost perpendicular to each other (Fig. 4). The safety of the drawings is unsatisfactory. The smaller western chariot is oriented from west to east, while the eastern chariot is oriented from south to north-east. Horses are ruled by anthropomorphic characters,

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Fig. 1. View of the cliff with drawings. Komdosh-Bohm.

Fig. 2. Drawings on the first section. Komdosh-Bohm.

Fig. 3. Drawings on the first section. Komdosh-Bohm.

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shown in the same way and schematically. Sled animals face each other with their backs to each other. The horses on the left are shown standing; the lower one has a protruding tail. The right ones, on the contrary, are reproduced in the dynamics of fast running with four legs spread out to the sides.

The drawbar in the form of a clear and even groove is visible only at the right chariot. Yoke-slingshots are given in the form of forks, and the fork of the western chariot is short and arched, and the eastern one is long and straight. It is impossible not to notice that the wheels of the eastern team are of different sizes: the right one is slightly larger than the left one. The wheels have a noticeably highlighted axle. As for the spokes, some are only guessed, others are not viewed at all. There is no order in the arrangement of the spokes: in the left chariot there are a maximum of eight, in the right - six. The platform-body of the left chariot has a D-shaped shape, the right - rounded. In general, we can conclude that the left chariot was artistically knocked out by a less confident hand.

Deer. A fragmentary contour image is located in the upper-right part of the cliff (Fig. 5). Only the lower part of the cliff is visible.-

Figure 4. Chariots. Komdosh-Boom. A - photo; B - drawing.

Figure 5. Deer. A fragmentary figure. Komdosh-Boom. A - photo; B - drawing.

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Fig. 6. Sacrificial deer. Komdosh-Boom. A - photo; B - drawing.

the lower part of the shape. The image is profiled and schematic. The animal has a somewhat conventional head shape and a high tree-like horn, the processes of which are poorly visible, especially in the lower half. In the area of the chest, a ring with a hole in the center is knocked out. The front leg also ends in a ring.

Maral. The grand profile image is located in the center of the cliff. Its length is 1,8 m, height 1,6 m (Fig. 6). The figure of the animal is embossed along the contour with a polished groove with a width of 2 cm or more. The width of the groove changes in accordance with the accentuation of the shape; in places of kinks, the contour loses its smoothness. The image is static and the head is oriented to the east. The legs are tucked up so that the hoof of the front is placed on the hoof of the back. A straight line is visible near the animal's neck, and a sharp flattened object is knocked out in the chest area. The tail is shown as a triangle.

The contour is outlined by a strict expressive line that combines both light stylization and a realistic outline of a small hump on the back, roundness of the rear croup, massive chest and smooth curve of the neck. Stylization was more concerned with the pattern of the head and horns; here it acquired a decorative character. The eye socket is arched, the neck is separated by a wavy line, and the ear is leaf-shaped. Horns are a structure with two front and two back processes, which is not very similar to real ones. The lower posterior process ends in two branches.

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Fig. 7. Kulan. Komdosh-Boom. A - photo; B - drawing.

Figure 8. Predator of the Felidae family. Komdosh-Boom. A - photo; B - drawing.

Kulan. The image is cut out along the contour and is located in the left part of the rock slightly below the maral figure (Fig. 7). The lowered head with a large eye is directed to the east. Hypertrophied ears sticking up are shown full-face, although the animal's figure is given in profile. The legs are outlined in straight lines, which emphasizes the static nature of the figure. One front leg is shown slightly set back, the two rear legs are almost layered one after the other. The plane of the silhouette is broken by an arc-shaped line that highlights the hip. In general, the drawing is archaic and primitive.

Predator of the feline family. It is shown under the larger kulan figure. The image is a profile, contour, and orientated to the east (Fig. 8). It is difficult to give an exact specific definition of the animal: in some ways, the figure resembles both a tiger and a lion. The drawing is monumental, combining the desire to follow

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Figure 9. Image of an animal in the lower part of the cliff. Komdosh-Bohm. A - photo; B - drawing.

in-kind and archaic stylization. The image as a whole has a majestic character.

The animal has a large head, an elongated paraboloid muzzle, a round ear and a short neck separated from the body by an arc. The tail is long. The front, straight-set paws are shown in a characteristic stylistic overlay technique, with only one line extending from the far paw. The closed hind legs are outlined in a smooth outline.

Two animals of indeterminate appearance. Cut out below all along the edges of the rock and oriented away from the center (Fig. 9, 10). The animal on the right on the eastern side is directed to sunrise, on the left-to sunset. Images are polygonal, profiled, and absolutely static. Their prototypes were probably maral and horse. The animals stand as if on pointe shoes, and the contours that outline the legs are placed side by side. The drawing is stylized so much that the decorative element prevailed over the realistic one. The lines that outline the figures are elegant; the silhouette is divided into patterned arcs. The images turned into ornamental images, full of refined beauty and aesthetic admiration.

Wild boar. The second section. The contour profile image combines the features of several animals, but most of all it resembles a wild boar. The figure is oriented to the south, or rather, down to the bottom of the ravine (Fig. 11). The knockout groove was not polished, and in the area of the head it is generally absent, and the holes from blows are located at some distance from each other. The animal has a long tail thrown over its back, ending in a ring, and large long ears: one narrow, hanging over the long muzzle bent to the ground like a dog, the other large and wide, covering a significant part of the head. The legs are short and thick. The animal is shown in the "stopped" pose.-

10. Image of an animal in the lower part of the cliff. Komdosh-Boom. A - photo; B - drawing.

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Figure 11. Wild boar. The second section. Komdosh-Boom. A - photo; B - drawing.

have a nice run." The forms have undergone a light decorative stylization. The drawing is notable for a single line running from the front hoof to the groin of the hind leg and giving the figure the appearance of a lean predator. A rounded hole is visible in the thigh area.

Image history

Analysis of images of chariots allows us to link the beginning of knocking out on the Komdosh-Booma rock with the Bronze Age, when, as is believed, the idea of the chariot of the sun is spreading in the cultures of Eurasia [Ivanov, 1980, p.664]. Similar two-wheeled steam-horse sleds, known from the Tsagan-Salaa and Baga-Oygura complexes in Mongolia, are dated by V. D. Kubarev in a wide time range: from the beginning of the II millennium BC to the XIII-X centuries BC. However, the researcher, referring to the date of images of chariots found on the slabs of Karasuk burial grounds given by M. A. Devlet In Khakassia (1998, p. 183) and in many cases identical in iconography to the Mongols, he also connects the latter with the Late Bronze Age (Kubarev, Tseveendorzh, Yakobson, 2005, p.90). The chronological feature of chariots is the number of spokes: more of them are characteristic of later images (Devlet, 1998, p. 184). It follows that the left chariot, less expressive and dynamic, was knocked out a little later - it has more spokes. Summing up all these estimates-

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Thus, we can conclude that the Komdosh-Bohm petroglyphs began to be created in the Late Bronze Age, probably synchronous with the Karasuk era, and no later than the 10th century BC.

It is difficult to say anything definite about the date of the fragmentary deer figure. It is only clear that it appeared no later than other zoomorphic images, since it occupied the most favorable place on the top of the cliff, not far from the chariots and, possibly, in sync with them. The figures of the kulan and the predator can be attributed to the end of the Late Bronze Age, if we assume that the schematic transmission of four straight legs was characteristic of petroglyphs not only of the Karasuk time in Southern Siberia, but also of the synchronous period in the Altai Mountains (Savinov, 1998, p.133). The image of the maral deer was also made, presumably, during the transition period from the Bronze Age to the time defined by the elegant figures of ungulates, to which the images of the Arjan-Mayemir style gravitate in the drawing of the legs.

In historical science, the time corresponding to the beginning of the Iron Age (from the end of the IX - beginning of the VIII to the VII century BC) is usually called "pre-Scythian" (Kiryushin and Tishkin, 1999, p. 72). However, the emerging trend towards the relative aging of Early Scythian monuments in Altai, as Yu. F. Kiryushin and A. A. Tishkin write, is gradually gaining more and more supporters and suggests considering almost the same chronological period - from the end of the IX - beginning of the VIII to the beginning of the VI century BC-more acceptable [Ibid., p. 74]. According to V. D. Kubarev, the Arjan-Mayemir style was formed no later than the 12th-9th centuries BC (2002, p. 38). Accordingly, the "pre-Scythian" time is lengthened.

In general, the creation of Komdosh images can be dated to a wide and narrow interval: wide-from the XIII to VII centuries BC, narrow-from the XI to IX centuries BC. In this case, the image of the Komdosh maral with its legs tucked up can be considered one of the oldest in Eurasia, since the earliest Minusinsk analogues belong to the V century BC. The Black Sea ones - by the first half of the VI century BC, and the Sakkyz ones-by the time no later than the second quarter of the VII century BC [Chlenova, 1962, p. 170].

Image semantics

The Komdosh-Booma petroglyphs were probably dedicated to the solar cult. The captured animals have a significant orientation: all of them, with the exception of one, the lowest one, which sees off the sun at sunset, meet the sunrise. Facing in opposite directions, these lower-tier animals seem to have closed the sacred space of the rock with highly significant images.

The sun symbol - a ring of approximately the same diameter-is present in all drawings. These are the four wheels of a steamer team, the ear of a predator, the ring on the tail of a boar, the eye socket of a maral, a circle with a center point in the chest and leg of a fragmentary deer; even in the outline of its head, the same disk with the center-eye is clearly read. According to researchers, the image of the deer itself was a symbol of the sun in Indo-Iranian mythology, and its horns were associated with rays [Kilunovskaya, 1987, p.104; Martynov and Bobrov, 1974, p. 68]. Apparently, the topmost image of a deer with a tree-like horn really represented a solar deity. It is no accident that his raised head is directed to the east, and he is the first among the animals depicted to meet the rising sun from behind the mountains.

The presence of two chariots suggests that the ideological ideas of the ancient Altaians can be traced to the Vedic tradition, where a pair of deities - Mithra and Varuna-appears as something single. According to the Rig Veda, the sun (Surya) is the eye of Mithra and Varuna [RV I 50,6]. The attributes of communication with the sun, as researchers note, are the motives of the celestial ride, horses, and chariot (Novozhenov, 1994, p. 222). All this is consistent with the cult of the sun, which later took an important place in the worldview of the Mountain-Altai population of the Scythian era (Surazakov, 2002, p.175). However, even in the" pre-Scythian "time," the horse becomes a solar deity, or a companion of the solar deity, or, finally, appears in one of the hypostases of the solar deity or other astral object... So, in the Rig Veda, the Sun god Surya and the fire god Agni appear in the form of a horse. The sun in the Rig Veda is repeatedly called a horse, a chariot, or a wheel" [Nikolaev, 1987, p. 155].

Herodotus also tells about the existence of the cult of the solar deity among the Scythian tribes, when he writes about the customs of the Massagetes: "The only god they worship is the sun. They sacrifice horses to the Sun, believing that the meaning of this sacrifice is that the fastest god should be sacrificed to the fastest creature in the world " [1972, p. 79]. Animal sacrifices were also performed in the cult of Mitra (Toporov, 1982, p. 157). In Altai, the sacrificial animal could have been a maral, since both linguistic data and Pazyryk masks of the Scythian period indicate that the concepts of the "deer - horse" line overlap [Grach, 1980, p. 91]. A maral with its legs tucked up in a jump could really be perceived as the fastest creature in the world.

Presumably, in this context of veneration of the solar deity, the image of a grandiose maral in the center of the rock should be perceived. Animal

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It is depicted, according to researchers, in a "traditional sacrificial position" (see, for example: [Artamonov, 1973, p. 220]). In addition, the image reflects different states of the animal (calm and when the spearhead pierced the chest, the sharp blade touched the neck and the mouth opened in a death roar), corresponding to the stages of the ritual action.

It is known that the sacrifice of deer (usually white) to the deities of the upper world was widely practiced among many peoples of Eurasia from ancient times until ethnographic modernity (Savinov, 1987, p. 115). It is possible that on the Komdoshskaya rock lichen was cleaned off all over the silhouette of the maral, and then its white figure on a black background looked extremely impressive. Due to the peculiarities of the psychology of color perception, it was seen as if separated from the rock and rising up. The horns of the maral deer at dusk in the firelight were associated with flames.

Kulan and wild boar could also act as sacrificial animals. The sun was associated with the image of not only a horse, but also a steppe donkey-kulan (Martynov, 1987, p. 15). The assumption about the use of wild boar in this capacity is based on the image of a maralukha with its legs tucked up in the Bulgan Aimag in the Mongolian Altai. The protomes of two wild boars are reproduced on its body (Tseveendorzh, 1999, Table 100, 1). It should be assumed that wild boars were also sacrificed along with the maral deer.

The semantics of the cat predator image in Scythian art has not yet found an unambiguous interpretation. Most likely, during the transition period from the Bronze Age to the Iron Age, mythological representations (possibly of Indo-Iranian origin) of a "ferocious predatory devouring beast" continued to exist on the territory of the steppe zone of Eurasia, which could manifest the features of various animals that corresponded to local pictorial traditions (Bogdanov, 2006, p.22).

The lower undefined zoomorphic characters are ideal disembodied creatures. The masterly outline of the upper animal line, which is characterized by realism and decorativeness in equal measure, has now decidedly moved away from the aesthetic admiration of the ornate pattern. The tendency to ornamentation, which was previously in its infancy, has become the fundamental essence of the image here. These graceful creatures seem to have lost everything earthly. Here the plan of expression prevailed over the plan of content, or rather became it. Probably, both images emotionally expressed the result of the ritual, and in content - the souls of sacrificial animals sent to the supreme deities.

Analogs of zoomorphic images

Direct analogs of the fragmentary figure of a deer are unknown to us, although images of deer with tree horns are widely distributed in petroglyphs of the Bronze Age. The accentuation of the solar symbolism in the form of a ring on the chest and head is a unique phenomenon.

The image of a hoofed animal with its legs tucked up became widespread in Scythian art. You should pay attention to the composition of maral horns. The lower posterior process, which runs as a straight rod and then branches, gives out the initial, not yet formed stage of stylization of horns, which in the future will be a characteristic iconographic element of the Scythian-Siberian animal style. Here, as in the embryo, both in the contour line of the animal and in the shape of its horns, the decorative and ornamental expressiveness is laid, in the channel of which the art of the early nomads of Eurasia will develop. It should be noted that the result of this process can be seen in the images of two deer in the Altai-Katyndoy steppe, located near the mouth of the Chui River. D. V. Cheremisin, who discovered the petroglyphs, believes that the cup - shaped depressions combined there with the image of a deer provide an additional basis for interpreting these images (one in the classical pose of the "Scythian" deer of the epoch). archaists) as reproducing a sacrificial animal [1997, p. 84]. By the way, the researcher also recorded a complex composition in the same place, in the center of which is a cat predator with a snake in its claws [Ibid., Fig.21, 1]. He, like the Komdoshsky prototype, is depicted on erect legs. The image we are studying is echoed by the sculptural image of a predator from the first Tuekta mound [Rudenko, 1953, Fig. 144, b], decorative wood-carving tigers from the Bashadar deck [Rudenko, 1960, Fig. 23], and a fantastic animal tattooed on the right arm of a man from the Second Pazyryk mound [Rudenko, 1960, Fig. 1953, fig. 177] and a recently identified tattooed image on a mummy from the Fifth Pazyryk burial mound (Barkova and Pankova, 2005, Fig. 4).

On the last mummy there is a tattoo with the image of kulan [Ibid., Fig. 6]. In general, the image of a kulan is not often found. In the Scythian era, it was recorded in Tagar art (Zavitukhina, 1983, Figures 155, 156) and on the olen stones of Mongolia (Volkov, 2002, Table 94). The image of a wild boar carved on the second plot is original in execution and does not reveal stylistic origins in the petroglyphs of the epoch

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bronze. Among the images of wild boars given by V. D. Kubarev in the summary, distant parallels to the Komdosh animal can be made by contour drawings of a later time, found in Tamurashi, Zhilandy (Kazakhstan) [Kubarev, 2003, Figures 5, 1, 16], as well as gold plaques from the Fifth Chilikta mound (Kazakhstan) [Chernikov, 1965, fig. 10]. Among the Scythian antiquities of Altai, the closest analogs are wood - carved animals from the Bashadar deck (Rudenko, 1960, Fig. 27] and a wild boar from the Kalbak-Tash II petroglyph complex (Kubarev, 2003, Figs. 1, 1). However, both have undergone much more stylization, especially the body of the Kalbaktash beast, which is divided by ornamental and decorative lines and planes.

The original images in the lower tier of the Komdosh-Booma show not only a liberation from reality, but also a bold combination of the features of various animals in one syncretic image. Something similar in the artistic thinking of earlier rock art masters is characteristic of Okunevsky art. However, the wild imagination of the creators of the Bronze Age, which primarily affected the images of predators, was aimed at intimidating, but here-at admiring the beauty. And this serene and idyllic decorativism developed from the style of the upper Komdosh images in the figures of the lower tier will later turn into scenes of their torment. Some historical upheaval has radically changed the psychological attitude of the ancient nomads of Central Asia. Monstrous monsters such as the Kalbaktash chimera, which were located somewhere in the celestial spheres, have now descended to earth and entered into a struggle with ungulates. A. A purely aesthetic feeling will never again triumph so vividly in the historical and artistic process of Gorny Altai. However, it did not disappear without a trace. The cult of beauty exalted by the Komdosh masters, merging with the drama of future centuries, will fertilize the art of the Scythian-Siberian animal style with the highest masterpieces.

Conclusion

The problem of the origin of the Scythian-Siberian animal style is one of the most acute in modern archeology and art studies. Currently, the most popular concept is M. P. Gryaznov's concept of a single process of developing the animal style of Scythian-Siberian art in several cultural centers, including the mountainous regions of Central Asia [1978, p. 231]. At the same time, it was suggested that the Scythian animal style "has no direct predecessors anywhere in the entire area of its distribution in Eastern Europe and Siberia, with the exception of the Minusinsk basin" (Artamonov, 1973, p.218). Indeed, it is recognized that the Karasuk component is present in the arsenal of visual means of the Early Scythian animal style in general (Savinov, 1998, p. 135). However, since there is no reason to extend the influence of the Karasuk culture of the Khakass-Minusinsk basin to the Late Bronze Age culture of Gorny Altai, researchers are faced with the following questions: what are the origins of Scythian art in Altai, whether it was introduced from outside or had direct predecessors on its territory? In this regard, the Komdosh-Bohm petroglyphs dating from the transition period from the Late Bronze Age to the Early Scythian period are of great interest.

Among the animals depicted, the maral deer with its legs tucked up should be especially noted. It was executed by an outstanding artist who, despite the unusually large size of the figure, managed to create an entire monumental work of an aesthetically high level covered by a single glance. He has an impeccable knowledge of the animal's anatomy and at the same time mastery of the line. It should be noted that realism in the representation of the animal's body, characteristic of the art of bronze, is combined with a decorative understanding of the form in the image of the head. Here the artist clearly pursued a different task - to show something unearthly, ideal, associated with objects of a completely different nature. The border of these two styles runs in a straight line, resting on the neck of the sacrificial deer. This straight line is the border of life and death, the earthly world and otherness. Above this straight line is the contour line, which has the character of decorative expressiveness, which then became more and more established in the art of the Scythian-Siberian animal style.

In general, it should be noted that the petroglyphs of Komdosh-Booma clearly show the relationship between stylistics and the content of the image. In all cases when it is necessary to represent objects of a different existence, schematics (sunny deer) or decorative stylization is used. Real animals are given in a realistic way. I. this clear delineation of visual language for the realms of the visible and invisible worlds is something new that emerged here in the Late Bronze Age and became a characteristic moment in the birth of Scythian art in Gorny Altai.

Perhaps in Komdosh-Bohm there was a shrine near the rock, where certain rituals were performed and people, standing at the bottom, contemplated drawings located at a considerable height. This is probably why the petroglyphs are so huge. You can imagine how impressive the drawings used to look, which stood out with their white outline against the dark background of the rock.

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Currently, a large amount of research work is needed by various specialists to identify the entire array of drawings and their museumification. It is likely that new petroglyphs will be discovered. However, it is already clear that the embossed images of Komdosh-Boomof particularly large dimensions represent a bright focus of rock art, which reflects the initial stage of the formation of the Scythian-Siberian animal style in the Altai Mountains. His main images and artistic trends will be developed in Mayemir and Pazyryk art.

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The article was submitted to the Editorial Board on 23.11.06.

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