Rock art monuments of the Minusinsk basin have been studied for more than a century, but even today it is possible to find new drawings and even entire complexes. For example, petroglyphs of Mount Bolshoy Ulaz (Leontiev, Miklashevich, Mukhareva, 2005), Mount Lisichya (Kovaleva, 2005), and others were introduced into scientific use relatively recently. Unfortunately, the condition of many rock carvings to date is simply depressing: some of them are destroyed, others continue to collapse. It is not always possible to get an idea of the original state of monuments. In this case, archival and museum materials become a particularly valuable source: sketches and copies of the first researchers, enthusiastic artists, and local historians. Such materials contain, for example, some lost images of the Sulek scribble. Drawings of this monument, located in the Minusinsk basin, are well known from the publication of materials of the expedition of I. R. Aspelin in 1897 (Appelgren-Kivalo, 1931), and not everyone knows about the current state of this location. At present, the scribble is so damaged by modern embossments and inscriptions that many drawings can be judged only by the materials left by their predecessors. Among them, we should mention copies of the famous artist V. F. Kapel'yu, who worked on almost all the monuments of the region for several decades starting from the 1970s. And although his copies of the carvings of the Sulek scribble are not without errors, they give an idea of some previously unnoticed, but now damaged or completely destroyed scenes and individual images.

As a result of field research conducted on Sulek in the 1980s by V. F. Kapelko, and in 2002-2006 by an expedition of the Siberian Association of Researchers of Primitive Art with the participation of the author of the article, who carried out a full documentation of this complex under the UNESCO project [Miklashevich, 2004a], new petroglyphs were copied, not yet introduced into scientific circulation. Among them, scenes with camels are of particular interest, as well as single images of this animal.

Since ancient times, camels were widely distributed in Central Asia - on the territory of Altai, Kazakhstan,Mongolia, where they are still found. The Minusinsk basin was one of the northernmost regions inhabited by these animals both in ancient times and in the Middle Ages. It should be noted that single figures of camels are found on many scribbles of the Minusinsk basin. Such images are known from the petroglyphs of Oglakhta [Sher et al., 1994, sur. 34; Pyatkin, Sovetova, and Miklashevich, 1995, Tables VII, 2; VIII, 2, 5] and Tepseya [Sovetova, 1995, Figures 9, 5] (Figures 1, 2-4) most of them are considered ethnographic by the authors [Pyatkin, Sovetova, and Miklashevich, 1995, p. 86; Sovetova, 1995, p. 52]. The Khakass series of drawings also includes several single images of camels published by L. R. Kyzlasov and N. V. Leontiev [1980, tab.. 6, 6; 30; 46, 1, 4] ( 1, 6-8). On the rocks of Oglakhta, a figure of a camel dated to the Scythian period is known; it was located on the lower tiers, currently flooded by the waters of the Krasnoyarsk reservoir, and probably has already been destroyed (Sher et al., 1994, pl. 9) (Fig. 1, 1). The most impressive scenes from ver-

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1. Single images of camels in petroglyphs of the Minusinsk basin. 1 - Oglakhty (according to [Sher et al., 1994]); 2, 3 - Oglakhty V (according to [Pyatkin, Sovetova, Miklashevich, 1995]); 4-Tepsei (according to [Sovetova, 1995]); 5 - Bolshoy Ulaz (according to [Leontiev, Miklashevich, Mukhareva 2005]); 6 - Tagar mound slab near Beltira ulus; 7 - Oglakhty (according to [L. R. Kyzlasov, Leontiev, 1980]); 8-der. Komarkovo (based on: [L. R. Kyzlasov, Leontiev, 1980]).

They are recorded on Sulekskaya Pisanitsa and Bolshoy Ulaz Mountain, as well as on the Tagar kurgan slab near Beltira ulus and pisanitsa near Komarkovo village (Fig. 2; 3, 1, 2,4 ; 4).

Images of camels, both singly and in a variety of scenes, are often found in the visual arts of Central Asia and are dated in a wide chronological range-from the Bronze Age to ethnographic modernity. Single figures of bactrian camels, images of camels with riders, scenes of confrontation or struggle of animals are widely represented on art products, in petroglyphs and are known from numerous publications [Appelgren-Kivalo, 1931, Abb. 77, 84, 88; Okladnikov and Zaporizhskaya, 1959, Fig. 50; Kadyrbaev and Maryashev, 1977, p. 209, fig. 79, 108; Devlet, 1980, fig. 1, 4; 2, 7, 2, Table 7, 23; L. R. Kyzlasov and Leontiev, 1980, Table. 6, 6; 30; 46, 1, 4\ Kubarev, 1987, Table IV, 4; Pugachenkova, 1987, p. 59; Sarianidi, 1989, Fig. 6; Sher et al., 1994, sur. 34; Korolkova, 1999, Fig. 1, 7; Samashev, 2001, p. 185, fig. 43; Novozhenov, 2002, fig. 14; Leontiev, Miklashevich, and Mukhareva, 2005, fig. XV-XVII; and others].

The literature has already covered some issues related to the domestication of camels [Kuzmina, 1963], attribution of individual images and compositions [Kadyrbaev and Maryashev, 1977; Korolkova, 1999; et al.], and some aspects of the semantics of scenes with camels [Akishev, 1976, p. 194; Kadyrbaev and Maryashev, 1977, p. 194]. 192; Kuzmina, 2002, pp. 74-80; et al.]. On the example of petroglyphs of the Minusinsk basin (first of all, images of the Bolshoy Ulaz monument recently introduced into scientific circulation [Leontiev, Miklashevich, Mukhareva, 2005], as well as drawings of Sulek drawings that are still unknown to a wide circle of researchers, made by the authors of the article).

Figure 2. Images of camel and horse riders. 1 - 4-Bolshoy Ulaz (based on [Leontiev, Miklashevich, Mukhareva, 2005]); 5-Sulekskaya pisanitsa (based on V. F. Kapelko: copies from N. V. Leontiev's personal archive); 6-Komarkovo village (based on [L. R. Kyzlasov, Leontiev, 1980]).

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Figure 3. Images of camels harnessed to carts. 1, 2-Sulekskaya pisanitsa (according to V. F. Kapelko: copies from the personal archive of N. V. Leontiev); 3-Uibat chaatas (according to: [Evtyukhova, 1948]); 4-slab of Tagar mound near Beltira ulus (according to: [L. R. Kyzlasov, Leontiev, 1980]); 5 - Bayan-Jurek (based on Samashev, 2001).

4. Scenes of confrontation and struggle of camels on Sulekskaya Pisanitsa.

1 - drawing of the author; 2-4- (according to V. F. Kapelko: copies from the personal archive of N. V. Leontiev).

V. F. Kapelko* and the author of the article), it is possible to analyze scenes with camels, identify common motifs, and clarify the chronology and semantics of these scenes. E. E. Kuzmina, in her article on the problem of bactrian domestication, refers to references to the two-humped camel in the Near Asian written sources of the XII-XI centuries BC and to images of this animal in the art of Assyria at the beginning of the first millennium BC, which indicate the popularity of this image and the widespread use of the two-humped camel in the Near East as early as the first millennium BC. The researcher notes that "archaeological materials allow us to state that the two-humped camel was domesticated long before the first millennium BC.... in eastern Asia, parts of the Eurasian steppes" [1963, p. 39-40]. In her opinion, the camel bones found on the monuments of the Andronovo culture and " a comparison of written Assyrian and Chinese data, as well as an analysis of the camel's name among different peoples, allow us to conclude that the two-humped camel, in all likelihood, was domesticated by Iranian-speaking tribes living in the Central Asian steppes and Kazakhstan, and also, possibly, Southern Siberia" [Ibid., p. 41]. The boundaries of the distribution of two-humped camels over time probably shifted further to the east and north, which is reflected in the rock art of the Minusinsk basin. The image of the camel, like the animal itself, may have "come" here from the territory of the Central Asian steppes and Kazakhstan. The presence of these animals on the territory of the region in the second half of the second millennium BC was recorded from the bones (although isolated) of a camel on two monuments of the Karasuk culture - Mount Ilinskaya and Mount Georgievskaya (Kiselev, 1951, p.141). The assumption that these animals may have lived in this area in the Tashtyk period has not been reliably confirmed [Vadetskaya, 1999, p. 184].

* I thank N. V. Leontiev for the opportunity to get acquainted with the materials of his personal archive.

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However, L. R. Kyzlasov, based on the results of studying bone material from the monuments he excavated, admits that camels were found in the Minusinsk basin in the Tashtyk era [1960, p.179].

Archaeological and pictorial materials indicate that camels were used in the region starting from the first millennium AD. Since the Sulek and Ulaza drawings are key to solving dating problems, including determining the time of distribution of the camel image in the rock art of the Minusinsk basin, we will consider the question of their chronological attribution.

Scenes with camels on the Sulek Pisanitsa, as well as other engraved drawings of the main location of this monument, are traditionally dated within the VII-IX centuries AD and are associated with the era of the "Kyrgyz great power" (Evtyukhova, 1948, p.102-103). This conclusion is based on the similarity of the inventory from Kyrgyz burials with the realities depicted on the rocks, as well as the style of petroglyphs and art works of Kyrgyz masters found in mounds [Ibid.]. In favor of attributing the drawings to the Early Middle Ages, there are also runic inscriptions available here. One of the lines is located above the figures of two opposing camels (Figs. 4, 2). The inscription and the image of the right camel do not overlap, but the last character of the text and the rear hump of the animal touch, and therefore I. L. Kyzlasov suggested that the "letters" appeared later and were applied from the free field to the image [1994, p. 294, fig. 41]. Another runic inscription is placed over one of the pairs of fighting camels (Fig. 4, 3). The text and drawings form a palimpsest, so L. A. Evtyukhova and S. V. Kiselyov believed that the figures of camels were created later than the inscriptions. However, it is impossible to trace what overlaps with what, since at present both the inscription and the composition have significantly suffered from modern embossing and not all the details are distinguishable. In addition, individual images of the monument, including the figures of the described scene, were repeatedly updated, as evidenced by the significantly deepened lines of the drawings. Nevertheless, I. L. Kyzlasov, paying attention to the placement of the last three signs of the inscription, which clearly follow the line reproducing the camel's back and back hump, believes that the inscription was applied to the rock later than the images of camels [Ibid., p.297, Fig. 43]. This is confirmed by another inscription located under the figures of camels and made, probably, after the creation of these images. I. L. Kyzlasov's observations were verified by the author of the article directly on the monument, as well as when working with photographs. Currently, the analysis of palimpsests does not allow us to say with certainty that the signs of the inscription overlap the images or vice versa. However, I. L. Kyzlasov's observation of the placement of inscriptions, taking into account the existing images, gives grounds to support the conclusion that drawings were applied before the inscription was created.

In the literature, the question was raised about the possible similarity of individual drawings of Sulek with images of the Tashtyk period and analogies were drawn between "Tyshtyk engravings and some "Kyrgyz" images of the Sulek scribble " (Pankova, 2004, p. 54). The hypothesis has a right to exist, since it is impossible to deny some stylistic similarity of the petroglyphs considered by S. V. Pankova. It compares the bear depicted on the rocks of Tepsey with the opposing figures of bears on the Sulek scribble [Ibid.]. Similar scenes of opposing animals on the territory of the Minusinsk basin are known from Kuni petroglyphs and date back to the transitional Tagar-Tashtyk period [Sovetova, Miklashevich, 1998, p. 26; Miklashevich, 2004b, p. 320-325]. Probably, in this case, there are some general ideas related to the semantics of such scenes that have existed for quite a long period. It seems that at present it is impossible to give sufficient arguments in favor of attributing even individual scenes with camels on the Sulek scribble to the Tashtyk time, and it is difficult to determine more precisely the chronological framework of these scenes-within the first millennium AD.

The date of the Ulazin drawings also raises some questions. These petroglyphs demonstrate, on the one hand, techniques that correspond to the ancient Kyrgyz pictorial tradition, for example, the mane of horses trimmed with teeth, on the other-the features of the Tashtyk style, which is characterized by a peculiar transfer of the legs of animals: one is stretched forward, and the other is bent. In other words, Ulazin drawings represent a mixture of two pictorial traditions - Tashtyk and Old Kyrgyz (Leontiev, Miklashevich, Mukhareva, 2005, p. 124), which allows us to date them to the initial stage of the early Middle Ages. Thus, the most representative layer of camel images on the rocks of the Minusinsk basin was created within the first millennium AD.

Camels in scenes on the rocks of the Minusinsk basin are most often depicted with riders or running freely. There are several recurring motifs: camels led by riders on horseback (see Fig. 2), harnessed to wagons (see Fig. 3), opposing each other (see Figure 4). Among the early Medieval petroglyphs of Bolshoy Ulaz and Sulek, there are repeatedly scenes representing camels being led by riders sitting on horses, or following each other

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2). It is interesting that similar subjects in the petroglyphs of adjacent territories are quite rare, despite the significant number in their repertoire of disparate images of riders on camels and horses that do not make up common compositions.

On the Sulek pisanitsa, a scene with camels is presented twice, where one animal is shown harnessed to a covered two-wheeled kibitka, to which another is tied. A tethered camel (see Figures 3, 1) has something on its back that resembles a saddle or blanket with an ornament that is similar to the pattern of blankets or saddles on the backs of riding horses, shown here, but, unfortunately, do not have pronounced dating features (Appelgren-Kivalo, 1931, Abb. 84]. The four-cornered kibitka, which is harnessed to the front camel, has a window on the side and a wheel with spokes. Camel riders are also known from the Ulazinsky petroglyphs, while images of camels harnessed to carts are no longer found among the rock carvings of the considered era in the Minusinsk basin. Obviously, the story with camels harnessed to a cart was quite popular in the first millennium AD. It is also known from other pictorial sources. According to L. A. Evtyukhova, a camel harnessed to a cart is represented on a birch bark sign from the Uibat chaatas (Minusinsk basin); here a stylized figure of a camel is depicted, with spirals carved behind it [1948, p.87, Fig. 24] (see Figs. 3, 3). A similar plot is also known from folk drawings of the Khakass people [L. R. Kyzlasov and Leontiev, 1980, Tables 46, 1] (see Figs. 3, 4), as well as from petroglyphs of adjacent territories, for example, it is found on the Bayan-Jurek monument in Kazakhstan [Samashev, 2001, p. 185, fig. 43] (see Figs. 3, 5).

In the petroglyphs of the Minusinsk basin, scenes reflecting the confrontation and struggle of camels are also reproduced (see Figure 4). In the visual arts, camels are often represented in scenes of fighting both predators and similar opponents [Korolkova, 1999, pp. 91-93, fig. 1, 4, 7; 3; 4, 1, 2; 6; 7, 8]. Extremely interesting are the scenes that capture the confrontation or 5, 7). For example, camels ' confrontation is depicted on some plaques from Ordos, Transbaikalia, and the Minusinsk Basin (Figs. 6, 1-6). The striking similarity of these bronze openwork plates dating back to the Hunnic period has been repeatedly noted by researchers [Gryaznov, 1961, p. 15; Devlet, 1980, p. 5; et al.]. The motif of camels biting each other is represented in the fine plastic of the Southern Urals (in the 1st Filippovsky mound [Golden Deer..., 2001, Fig 14, 110], Pyatimary I burial ground (Kadyrbaev and Maryashev, 1977, p. 209, Fig. 108), as well as in materials from Western Kazakhstan (Besoba burial ground) (Korolkova, 1999, Fig. 3, 3, 4), on openwork bronze plates from Mongolia (Zavkhan aimag) [Ibid., fig. 7, 8] and bone plates from Northern Bactria (Orlatsky burial ground) [Pugachenkova, 1987, p. 59] (Fig. 7). A wooden diadem was found on the territory of the South-Eastern Altai (Ulandryk I burial ground), which depicts two reclining camels with their heads turned to each other [Kubarev, 1987, tab. IV-4] (see Figs. 6, 7). All the listed materials are dated to the first millennium BC. Rock carvings of opposing and biting camels are known on the territory of Kazakhstan (Baikonur) [Novozhenov, 2002, tab.. 22: 3, 4.2, 4.3; 32: 16.2, 16.5; 34: 2.1, 2.2] ( 5, 3-6), Karatau (Kadyrbaev and Maryashev, 1977, Fig. 5, 1, 2), in the Mongolian Altai (Baga-Uygur) [Yacobson, Kubarev, Tseevendorj, 2001, fig. 1211] (see Figs. 5, 7), Minusinsk basin (Sulek) [Appelgren-Kivalo, 1931, Abb. 88] (see Figure 4).

It should be emphasized that the images of opposing and struggling animals on the Sulekskaya Pisanitsa in the Minusinsk basin are unique. As noted, the time of creation of these drawings is the early Middle Ages, when this motif was no longer found in the visual arts of other regions. And usually all the scenes of fighting camels,

5. Scenes of camels ' confrontation and struggle. 1, 2-Karatau (according to [Mariyashev, 1977]); 3, 4-Baikonur II; 5-Baikonur IV; 6-Baikonur III (according to [Novozhenov, 2002]); 7-Bayan-Uygur (according to [Yacobson, Kubarev, Tseevendorj, 2001]).

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Fig. 6. Scenes of camels ' confrontation.

1 - 3-Ordos (according to [Devlet, 1980]); 4-Kaly Village, Minusinsk basin (according to [Devlet, 1980]); 5 - Northern China or Inner Mongolia (according to [Korolkova, 1999]); 6 - Daodunzi burial ground, Northern China (according to [Devlet, 1980]).Korolkova, 1999]); 7-Ulandryk I, South-Eastern Altai (according to Kubarev, 1987).

known from visual materials, they are compositionally very close and reflect the moment of the fight. Sulekskaya Pisanitsa is a monument where several pairs of opposing and struggling animals are represented. Three pairs of camels are shown below each other on a single section of rock divided by cracks into blocks; this suggests that these images are consecutive fragments of the same scene. One pair consists of camels with snarling mouths and low - hanging heads at the moment when the animals are ready to bite each other, the second pair consists of camels biting each other's forelegs, and the third pair consists of camels biting each other's hind legs (see Figures 4, 2-4). Stylistically, the images of four opposing camels with their heads held high differ from those described above. They are located slightly to the right of the others on the same rocky exit. Figures are shown as smooth lines; the outline is sometimes represented by a double line with hatching inside, which may convey the long hair on the neck and humps of camels (see Figs. 4, 1).

All drawings of camels on the Sulek scribble are made in the technique of carving or engraving, which allowed the masters to accurately convey the elements of these images. For example, animals with snarling mouths have clearly drawn teeth, which increases the expression of aggression. It is important to note that in some scenes, a third animal of the same species is depicted next to the opposing and struggling camels, which does not take part in the struggle (see Fig. 4, 1, 3, 4). In a similar plot on the petroglyphs of Baikonur, a third animal, a horse, is also shown next to camels biting each other (see Fig. 5, 3). It is believed that such scenes illustrate the struggle that takes place during the mating season between male camels over the female, who, according to observations,-

Fig. 7. Scenes of camels ' confrontation. 1, 2-Besoba burial ground, Western Kazakhstan; 3, 4-Filippovsky kurgan, Southern Urals; 5-Zavkhan aimag, Mongolia; 6-Pyatimary I, Southern Urals (according to [Korolkova, 1999]); 7-Togolok-21 temple complex, Turkmenistan (according to [Sarianidi, 19898-Orlatsky burial ground, Northern Bactria (according to [Pugachenkova, 1987]).

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She is waiting for the outcome of the fight, pretending that it does not concern her [Dolnik, 2004, p. 203].

As you know, the theme of animal confrontation is one of the most popular in the visual arts. M. P. Gryaznov [1961, p.15-16], A. M. Belenitsky [1978, p. 36], E. E. Kuzmina [2002, p. 74-80] and other researchers have suggested interesting interpretations of this plot. All available interpretations can be divided into two groups: the first one is associated with mythological and epic representations of different peoples [Gryaznov, 1961, p. 15-16; Kadyrbaev and Maryashev, 1977, p. 192; Belenitsky, 1978, p. 36; Kuzmina, 2002, p. 76; etc.], the second one is associated with the cult of fertility [Akishev, 1976, p. 194; et al.]. Animal fights that were arranged for a magical purpose are also reflected in some written sources [Bichurin, 1950, p. 296, 319; Barthold, 1963, p. 142].

The timing of the opposing and biting camels motif still raises a lot of questions. Petroglyphic images do not have a clear date. By analogy with biting camels on a plaque from mound 8 of the Pyatimary I burial ground, petroglyphs of Karatau and then Baikonur were attributed to the Sauromatic time (Kadyrbaev and Maryashev, 1977, p. 209, fig. 108; Novozhenov, 2002, p. 50, Fig.16, 1). E. F. Korolkova, based on the materials at her disposal, initially associated the camel fight scenes with the period from the end of the VI-V century BC to the Middle Ages [1998, p. 144]. Then she suggested the appearance of this subject "in the art of pre-Scythian times" (1999, p. 90). The image of camels on a stone amulet from Margiana (Eastern Turkmenistan) supports the assumption that this motif appeared in the visual arts earlier than the sixth century BC. A stone amulet carved in the shape of a camel was found during excavations of the temple complex at Togolok-21 (Sarianidi, 1989, Fig. 6). On its two sides and base there are three compositions; one of them V. I. Sarianidi interpreted as an image of a camel "licking its hind leg" [Ibid., p. 160]. It should be noted that this amulet is not fully preserved - its left part is broken off, as evidenced by the composition made on the basis of the amulet. It depicts a hunt in which, apparently, three characters participated: the hunter (his figure has not been preserved and only part of the bow drawn by him is currently visible), the wounded man an animal whose neck is pierced by an arrow, and a hound dog [Ibid., Fig. 6, c]. It can be assumed that initially one of the sides was represented not by a camel licking its hind leg, but by two animals biting each other. From this scene, images of the front of one of the fighting camels and the body of another are preserved (the image of his head and neck is lost). These images are cut in the technique of relief with fine engraving of all the details, and in the drawing presented by the researcher, the tongue of an animal licking itself is "unreadable", while one of the camel's tusks is clearly visible (see Figs. 7, 7). The unnatural and unusual pose of a camel that looks "literally folded in half", provided its interpretation is correct. as a single figure, E. F. Korolkova also notes [1999, p. 90]. The Togolok-21 temple complex of V. I. Sarianidi dates back to the boundary of the II-I millennium BC [1989, p. 152]. In this case, the images of fighting camels on the amulet from the Togolok-21 complex are the earliest known and reliably dated at the present time.

Rock art analysis using archaeological data, as well as other sources, may indicate the time when camels appeared in the region. Images of camels similar to those of Ulazin in the Minusinsk basin are also known among the Kurykan petroglyphs on the Shishkin rocks in the Baikal region, although there are much fewer similar figures here than on Sulek and Ulaz. According to the materials of A. P. Okladnikov, only three such images are noted. Based on this, we can assume the direction of distribution of contacts from the south-west to the east [Leontiev, Miklashevich, Mukhareva, 2005, p. 132]. A. P. Okladnikov also drew numerous parallels between Central Asian and Kurykan drawings in the analysis of Lena scribbles (Okladnikov and Zaporozhskaya, 1959, pp. 124-129).

It is possible that the motif of biting camels presented on the Sulek scribble, along with other motifs and images, was borrowed from the Iranian-speaking population of the Eurasian steppes by the Tagars and thanks to them got into the Minusinsk basin. According to E. E. Kuzmina, in such cases, with the appearance of animals, both their names and the entire cycle of religious and mythological representations and ritual actions associated with them were perceived [2002, p. 77]. Perhaps the motive of the camels ' confrontation was borrowed from some Iranian-speaking people who revered the camel as a cult animal.

Thus, the image of the camel, as well as the animal itself, probably came to the Minusinsk basin not from the eastern, but from the southern territories, from Central and Central Asia. In the Minusinsk basin, images of camels have been known since Scythian times. The most expressive of them, as well as scenes with camels, were created in the first millennium AD. It is at this time in this territory that the image in question and related ideas become popular. Single figures of camels found in a series of ethnographic drawings indicate that interest in this animal was not lost, but, obviously, it no longer had such a rich semantic coloring as in the early Middle Ages.

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The article was submitted to the Editorial Board on 11.05.06.

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