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УДК 904 DOI: 10.53315/1995-0713-2023-60-4-13-28
Б. Байартур
Монгольский государственный университет культуры и искусств, Улан-Батор, Монголия
ИЗОБРАЖЕНИЯ И СМЫСЛ НАСКАЛЬНОЙ ЖИВОПИСИ В МОНГОЛИИ
Наскальные рисунки содержат ценную информацию о мыслях, мечтах, мировоззрениях, религиях, ритуалах и практике древних людей. Таким образом, наскальные рисунки являются уникальным историческим и культурным наследием, которое показывает развитие мысли древних людей и искусство живописи. Памятники наскальной живописи были нарисованы на пещерных стенах и скалах в первобытные времена, но они сохранились до сегодняшнего дня, не теряя своей первоначальной формы и характера на протяжении всей человеческой истории, и являются надежным и важным источником исследований. Изображение и смысл наскальной живописи иногда понятны, но зачастую скрыты, поэтому требуются обширные знания, специальные теории и методики, а также много времени от исследователей, чтобы проанализировать и понять смысл изображений. Наскальная живопись является одним из археологических памятников, широко распространенных по всему миру, и территория Монголии богата памятниками наскальной живописи. В зависимости от таких факторов, как земля, вода и развитие сельского хозяйства людей, которые жили в Монголии с древних времен, темы и изображения наскальных рисунков в Монголии различаются, но для них также характерен простой рисунок.
До настоящего времени наскальные рисунки мало исследованы с точки зрения мастерства, символизма, внутреннего созерцания ума и поклонения скрытым смыслам. Поэтому наскальные рисунки обычно классифицируются как «осязаемая иллюстрация» и «нематериальная иллюстрация» только на основе метода иллюстрации, мастерства и типа. Другими словами, они состоят из осязаемых картин, или «изображений», и ритмов, или «абстрактных символов». Однако ученые не пришли к единому выводу, какая из этих иллюстраций наскальной живописи, настоящая или абстрактная, является первой.
Ч. Болдбаатар (Доктор наук) написал в своей докторской диссертации «Творческие и священные характеристики наскальной живописи в Монголии», что наскальные рисунки не только являются реалистичным описанием или художественной функцией, но и считаются символическим ядром, которое представляет собой связь между такими факторами, как жизнь, мораль, религия и ритуалы всего мира.
Ключевые слова: наскальная живопись, изображения, смысл, искусство, осязаемые, неосязаемые, мысли.
B. Bayartur
Mongolian State University of Culture and Arts, Ulaanbaatar, Mongolia
IMAGES AND MEANING OF ROCK PAINTINGS IN MONGOLIA
Rock paintings contain valuable information about the thoughts, dreams, worldviews, religions, rituals, and practices ofpreliterate or ancient people. So, rock paintings are a unique historical and cultural heritage that shows the development of the thoughts of ancient people and the art of painting. Because the monuments of rock paintings are described on relatively old cave walls and rocks, they have been inherited by us today without losing their original form and character throughout history and term and are a reliable and tangible source of research. The image and meaning of the rock paintings are sometimes obvious but arehidden, so it requires extensive knowledge, specific theory and methodology, and a lot of time from the researchers to analyze them, read the meaning reports, and clarify them. Rock painting is one of the archeological monuments widely spread throughout the
world, but there are rich rock painting monuments in Mongolian territory. Depending on the land, water, and agriculture of the people who lived in Mongolia since ancient times, the themes and images of rock paintings in Mongolia differ, but they also have a simple pattern.
There are few studies of rock paintings from the point of view of craftsmanship, symbolism, inner contemplation of the mind, and worship of hidden meanings. Therefore, rock paintings are generally classified as "tangible illustration" and "intangible illustration " based only on the method of illustration, craftsmanship, and type. In other words, these consist of tangible paintings or "images" and rhythms or "abstract symbols"1. However, scientists have not found a united conclusion about which of these illustrations of rock paintings, real or abstract, is the first.
Ch. Boldbaatar (Ph.D.) wrote in his doctoral thesis entitled "Imaginative and Sacred Characteristics of Rock Paintings in Mongolia " that rock paintings are not only realistic description or artistic function but also considered a symbolic core that represents the relationship between factors such as life, morality, religion, and rituals of a whole world.
Key words: rock painting, images, meaning, art, tangible, intangible, thoughts.
Introduction: The scientists, who studied the rock paintings of "Khoid Tsenkheriin Agui "Ishgen Tolgoi "Chandman Khar Uzuur", "Rashaan Khad", "Tsagaan Salaa", "Baga-Oigor", and "Aral Tolgoi" in Mongolia, have been concluded that these are related to the world-famous rock paintings of from France, Spain as well as Portugal at one time or the Upper Paleolithic period.
Thus, according to the rock paintings and archeological findings found in the territory of Mongolia, the oldest art heritage is connected to the Upper Paleolithic Age. For example, the rock paintings of Khoid Tsenkheriin Agui and Ishgen Tolgoi at Mankhan soum, Chandmani Khar Uzuur at Buyant soum in Khovd Province, Khan Uzuur at Sagil soum in Uvs Province and Rashaan Khad near southeast of Binder mountain at Khurkh bag at Batshireet soum in Khentii province belong to the Upper Paleolithic or 20-25 thousand years ago. "On these rocks." paintings can be observed as the main features of Paleolithic rock painting. For example, the description of herds is considered finger-printed spots in images of ibex and ostrich painted on the wall of Khoid Tsenkheriin Agui, and the scientists believe that the oval and round hollow under animals symbolize the sex and reproduction of female animals.
There are dozens of pictures of wild animals, livestock, people, hunting, and people driving cattle on the rocks of Mojoo at Sagil Soum, Uvs Province. The paintings on Mojoo rocks consist of three features: the traditional approach of the Paleolithic to symbolize reproduction; the Mesolithic hunting of wild cattle with a bow and arrow; and the domestication of cattle in the Neolithic period. Since these paintings are together, they are considered to belong to the late Mesolithic and early Neolithic periods. People, livestock, wild animals, and hunting, the work of people engaged in animal husbandry and agriculture are described on the walls and rocks of the cave, and livestock or wild animals are represented by any part of the animal's body such as horns, heads, manes, tails, and hooves. Such paintings were the beginning of the emergence of triangles, squares, round, rhombuses, cruciform or crossed, dots, lines, patterns, and seals with brief and abstract images containing the ideas of religion and vision. They represent the precise process of abstract thinking of the ancient human mind and are the manifestations of human imagination and mythological thinking in the primitive age to cognize the structure of the world, the origin of humans and animals, and the causes of life and death. For example, "...on the wall of Khoid Tsenkheriin Agui at Mankhan soum of Khovd Province, the upper, middle, and lower cosmos were represented by winged creatures (birds), predator (ungulate), and snakes"2. "...when showing the structure
'Ch. Boldbaatar (Ph.D.). Imaginative and Sacred Characteristics of Rock Paintings in Mongolia. UB., 2000. p.25
2Э.А.Новгородова. Мир петроглифов монголий. М., 1984
of the world on the rocks of the Chuluut River, there is described sometimes a cow with a moon-shaped horn or a star between the cow's horns joined together in the upper part of the painting, an ungulate such as a sheep or a yak in the middle of the painting, and great-great-grandmother with a snake in the lower part. These are similar to rock paintings in Southern Siberia and Tuva"1.
The rock paintings found in Mongolia seem to be similar to those of other countries in terms of their techniques and content, but they are unique in their artistic imagination of the unique features, customs, and lifestyles of the natives. For example, when describing animals on the walls of the Khoid Tsenkheriin Agui, shapes, figures, and main characteristics of their general body (horns, beak, tail, head, male gender) were empathically described and these were briefly created. There were descriptions of the lifestyle of deer hunting with horses, on foot, with bows and arrows, and with dogs on the rocks of many places such as Chuluut of Arkhangai province, Onts of Sharbulg of Ulziit soum in Uvs province, Aravjikh of Noyon soum in Umnugovi province, and Bichigtii Am of Ikh Bayan Mountain of Bayanlig soum in Bayankhongor province, and also the process of domesticating wild animals was described on the rocks of Baga-Oigor at Ulaankhus soum, Bayan-Ulgii province, Khad Uzuurt at Sagil soum, Uvs province, Sevrei mountain of Umnugovi province, Bichigt at Biger soum, Govi-Altai province. In this way, when drawing people, livestock, and animals on the plate of the rock, they are described side by side without stacked one on top of the other. These with the exhibition forms, images of horse carriages on the rocks of Tevsh at Bogd soum, Uvurkhangai province, Yamaan Us at Uyench soum, Khovd province, the wrestlers were described on the rocks of Del Mountain at Ulziit soum, Dundgovi province, and paintings by Almagraon rocks of Ikh Tengeriin Am and Gachuurt at Bayanzurkh district, Ulaanbaatar, Bichigt at Bugat soum, Bulgan province, Baruun Jargalant at Bat-shireet soum, Khentii province, Taikhar Chuluu at Ikh Tamir soum, Arkhangai province and Bichigt Bulag at Bayanzurkh soum, Khuvsgul province which belong to the Early Bronze Age in terms of the carved date, express the symbolic features of signs and imagination technique. This artfully abstracteddescription of nature, social phenomena, and objects, which seems naively unconscious, contains the life, desires, dreams, artistic thinking, and symbolic ideas of the people of that time, and shows their talents and aspirations in the most free and clear way. "...Ancient people observed human and animal existence, origin, death, destruction, their consequences, the struggle against good and evil forces, the inner connection of phenomena, the eternal movement, and classified the structure of the universe: heaven above, earth in the middle, and nymph below. It is represented by the animals living in these three environments such as winged creatures, ungulates, snakes, and fish"2. This can be clearly seen from the fact that not only realistic images of wild animals and winged creatures were carved on the rocks, but also symbolic signs, images, and stamps expressing the precise thinking and imagination of the human mind. Thus, "...rock painting is not only a dynamic characteristic of showing a moment but also a representation of hidden ideas in the human mind and symbols. It is likely that it was the emergence of the experience of creative thinking inherited by intelligent human beings over millennia. In other words, the pattern of transcription signs and images handed down to the Upper Paleolithic people from the past has already matured, and the phantom description is a schematic expression of some hidden desire"3. Accordingly, the mental and abstract imagination paintings, images of signs, and stamps that reflect the human mind, worship, opinion, and artistic thinking
1N.Tsultem. An overview of the development of Mongolian painting. UB., 1988. p.8
2N.Tsultem. An overview of the development of Mongolian painting. UB., 1988. p.12
3Ch.Boldbaatar. Sacred features of imagination and artistic thinking on Phantom or rock paintings in Mongolia. UB., 2000. p.25
style of the primitive age matured as a result of the development and progress of the human body and mind, the influence of nature and society, and then it is the beginning of the method of expressing the external characteristics and internal connection of phenomena in the form of signs or symbols. Thus, symbolic paintings or images, which are manifestations of artistic imagination and thinking, are an expression of human desire to know the hidden nature and regularity of phenomena. Therefore, the art researcher Ch. Boldbaatar said "...paintings and stamps carved on rocks are not only real images, they are not intended for artistic purpose, but they are the core of mythological consciousness to express and unite their relationships or a reflection of factors such as life, morals, worship, cognition, and behavior of a whole world", and it is actually considered a clarification of the hidden meaning, symbolic features of the rock paintings and images, and its complex description of lifestyle. "...Ancient people left monuments and often created images on rocks and places that they considered sacred and artistic, and those monuments are not ordinary crafts, but they absorb the vitality of the object, in other words, the images of the described people and animals"1 are more important than that object. And it created a symbolic image that was not only an expression of the artistic abstraction but also ancient man's worship. In particular, "...all rock paintings and figures have the character of the main character, which is the idea that everything has "personification" or "owners" according to ancient people's understanding, and this " personification" means the meaning of "inner strength" embedded in the thing. If this "personification" or "inner strength" did not exist, then it is a form of a person's "personification" thinking as if the thing did not exist"2. Thus, the figures of people, livestock, and animals described on the rocks are not superimposed on each other, but each of them coexists with the main characters, and "...rock paintings are similar to the paintings of current Mongolia for spatial solutions, order, the basic pattern of lines, artistic imagination or expressions, signs, figures and symbols"3.
Almagra painting in the Bronze Age. One of the monuments, which is an important tool for studying the Bronze Age of Mongolia, is the paintings, images, and symbols drawn on rocks with Almagra and carved with sharp objects. There were found paintings with a single theme describing a horse, two parallel lines (tracks), several people standing holding hands and legs crossed sometimes inside or mostly outside the fence, a bird flapping its wings and an ellipsis inside of square and round stone fences on rocks of many places such as Ikh Tengeriin Am and Gachuurtiin Am near Ulaanbaatar, Bichigt Bulag at Bayanzurkh soum, Khuvsgul province, Bichigt Khad at Bugat soum, and the estuary of Baruun Mogoi River at Orkhon soum, Bulgan province, Baruun Jargalant at Batshireet soum, Khentii province. The northern edge of the area where the paintings with this theme is located near the city of Ulaan-Ud, Buriyat, the valleys of Ud and Jid rivers, Russia, and the southern edge is on rocks of Ikh Tengeriin Am of Bogd Mountain, or the south of Lake Baikal, and the forest-taiga region of Mongolia. Scholars have interpreted the meaning of these paintings in different ways, and chronologically, it isfrom the middle of the 2nd millennium to the 3rd century before century, and in connection with this term, N.Ser-Odjav considered as a sign of wishing to increase the number of herds by protecting them from external dangers for drawing many ellipses within a square fence. A.P. Okladnikov believed that the circles represent the tribe, and the people and ellipses within the frame describe the members of
1S.Dulam. Mythological Figure of Mongolia.UB., 1989. p.34, Philosophical History of Mongolia. VolI. 1997.p.188
2S.Batchuluun. A study of Artistic Features of Abstraction in traditional painting of imagination in Mongolia (as an example of monuments from ancient time to XIII century) Dissertation for Associate Ph.D. UB., 1996.p.44
3Ch.Boldbaatar. Sacred features of imagination and artistic thinking on Phantom or rock paintings in Mongolia. UB., 2000. p.131-132
this tribe. On the other hand, D. Tseveendorj stressed that the description of several people along with the fence frame, including many ellipses, reflects the cultivation of crops together, or festivals and rituals related to agriculture. Most scholars considerthat the winged bird is expressed as a symbol of protection from danger and a tribal spirit. A tribe or a fence is marked with a square or circular border, then the painting will be a monument of the settled farmers. In each of these paintings, the same event is repeatedly described and an attempt is made to convey a single meaning, which indicates that the farms, worship, ritual, and symbol of the people who created these monuments are the same. Also, people are described as two or three, holding hands with legs apart in the paintings, and it is obvious that they expressed the idea of celebrating, dancing, and performing some kind of ritual. Paintings with such themes and styles are usually found on the rocks near riverbanks and valleys in forest and taiga regions such as rocks of Ikh Tengeriin Am, Gachuurt, Tuul River, Bichigt Khad, Khujirt River at Bugat soum, Jargalant river, Zuragt Khad at Batshireet soum, Baruun Mogoin Khad at Orkhon soum as well as near Ud and Jid rivers in Buriyat. Accordingly, it is possible that the paintings and images reflect the lifestyle of settled people who engage in agriculture and live in one place. In these rock paintings, people are described in groups doing some kind of movement, and when the members of the tribe plant and harvest crops on their own land, they gather near the sacred rock to symbolize the abundance of crops and livestock, they may make tribal "Bird" emblemsand show the festival of the spring harvest. In addition, a case of making a coffin lid inside a square grave with a horse, a person, and two parallel lines (roads) carved from a flat stone, similar to those described in these paintings, was found in the mouth of Shivert at Battsengel soum, Arkhangai province. In the middle of one side of this stone from a square tomb, two lines of parallel (roads) were drawn lengthwise, and on one side of the lines, a horse and a man leading a horse were carved, and on the other side, several horses were carved. The fact that many horse figures were carved on the flat stone of the coffin lid may be related to the fact that in the ancient burial ritual, horses' heads, saddles, and later complete horses and guide horses were accompanied by horse equipment. The two parallel lines described here may represent the present world on one side and the world after death on the other. However, the meaning of the painting can be interpreted in a completely different way. It may be a painting or a symbolic description of human burial practices in the Bronze Age, with multiple dots and several human-shaped square and circular frames representing the dead, and outside the frame with people burying the deceased.
Rock Painting of Gachuurt. In 1960, the famous Russian scientist A.P. Okladnikov first discovered the rock painting of Gachuurt, and there were descriptions of people standing with their hands crossed, a person leading a horse and a dog, an eagle spreading its wings, and two parallel lines (road crossing) outside of a square frame with many ellipses on the painting. In particular, the image of a person leading a dog was not found in other paintings of this type, which is a unique feature of Gachuurt rock paintings.
There were many ellipses with a square frame for representing people and animals in the Gachuurt rock paintings, and some scientists considered that it is similar to a method of representing with many ellipses instead of drawing herds of animals individually on rock paintings such as Khoid Tsenkheriin Agui in the Upper Paleolithic Age. On the other hand, if the square frame marks a tribe, a fence, or a specially designated place, the painting may be a monument of settled farmers. In particular, descriptions of dwellings and fences or gates are rare in Almagraand carved rock paintings in the Primitive society.
It should be intensely studied that these paintings were painted with Almagraat a time when the method of carving and painting rocks was predominant. In each of the above-mentioned types of paintings, the same event is repeatedly described and the same meaning is
tried to be expressed, which indicates that the people who left the monuments had the same experience of life, ritual, worship, and emblem. When observing the people described on the rocks painting of Gachuurt, it is clear that they are not standing alone, but holding hands in two and threes, and standing with their feet apart, which means that they are performing some kind of ritual or celebrating and dancing.
When describing many ellipses in a square frame, they are placed in an orderly fashion in rows. On the other hand, when the head of the symbol (harrier, eagle) of the tribe is shown to the side and the movement of flying with spread wings, the main characteristics of the bird (curved beak and large wings) are clearly described. In general, this type of Almagrapainting is similar to each other in terms of composition and visual expression methods, and it proves that the artists of that time had mastered the art of painting quite well. At first glance, Gachuurt's rock painting looks like a child's drawing, but it will be a unique expression of visual techniques and signs which is displayed in a visual way in order to make what is being described as clear as possible
In the Bronze Age, people continued to develop methods of representing physical objects occupying space on a plane in order to express the natural and social phenomena, people, animals, and animals in a realistic and artistic way. Attempts to describe space and shape on a plane from multiple points of view led to the combination of the front and sides of things and the front and top. As a result of the description of people, horses, birds, parallel lines like roads, many ellipses, and square frames in Almagrapaintings, it is a unique method of imagination and expression that meets the needs of the artistic mind to provide as much information as possible about what is being described. Specifically, when the space is drawn on a plane for the rock painting of Gachuurt, it describes the view of things from both sides, not only from one side. According to the method, the square frame has many ellipses inside it, roads and exits are drawn from the top view and people, horses, and birds from the side. This method of describing from multiple ellipses of view continued to fulfill its purpose for a certain period of time to provide complete information about the object being described, as evidenced by the various engravings of chariots associated with the Bronze Age.
The meaning of the Gachuurt rock painting can be interpreted differently. For example, it can be considered as an imagination that reflects the funeral rituals of the Bronze Age, where the dead are represented by many ellipses within a square frame, and people standing outside the frame, one by one or in pairs, holding hands, represent the deceased.
The rock painting of Gachuurt is a wonderful and unique monument of various meanings and culture such as the intellectual life and behavior of a generation in the historical development of mankind, which speaks to us with its unique visual language throughout many generations of history and time.
Those who created the rock painting of Gachuurt followed the traditional artistic method in order to show their experience of life, unique rituals, as well as their mental, emotional, and abstract thoughts through general images, and express the deep meaning of the symbols. It is different from other monuments of the Almagrapaintings in the primitive period.
Engraved paintings of the Bronze Age. There are abundant engraved paintings of rocks in Mongolia in the Bronze Age. During the Bronze Age, people, animals, animals, and seals were often carved into the rocks by hammering them with sharp objects. Scientists have classified the imagination of rock paintings as zoomorphic (animal-shaped), anthropomorphic (human-shaped), and enantiomorphic for abstract symbols and images. It can be understood as an enantiomorphic or spiritual hidden expression that the ancient people intuitively felt that there was a hidden factor in the sky or the earth, and then realized the
concept of the universe, which is known and unknown to the consciousness, and expressed it by realizing the abstract (abstract) imagination along with the real image. In this sense, the system of rock paintings is classified by the forms of physical and non-physical morphs: zoomorphic, anthropomorphic, and enantiomorphic. This classification of paintings corresponds methodologically to the concept of figurative and non-figurative, which distinguishes the essence of representation in modern art theory. Rock paintings with a realistic description of people, livestock, animals and hunting, animal husbandry, warfare, ancient human life, rituals, and worship were found in hundreds of rocks, such as Tsambagarav at Erdeneburen soum, Khovd province, Aravzhih of Noyon Sum, Uvsi Ulgi Sum, Shar Bulyng Onts, Bayanlig Sum of Bayankhongor, Bighigtiye Am of Bayanlig Sum, Morin Head of Gobi-Altai Biger Sum, Tsagaan Gol of Naran Sum, Shaahar Head of Chandman Sum, Black Goat of Ulaanhus Sum of Bayan-Olg, Tsagaan Salaa or Baga-Oigor, Baga-Oigor or Tsagaan Salaa at Ulaankhus soum, Bayan-Ulgii province, Morin Tolgoi at Biger soum, Tsagaan gol at Naran soum, Shaakhar Tolgoi at CHandmani soum of Govi-Altai province,Bichigt Am at Bayanlig soum Bayankhongor province, Shar Bulgiin Onts at Ulgii soum, Uvs province, Aravjikh at Noyon soum, Umnugovi province, Del Khunjil at Ulziit soum, Dundgovi province, Khuruugiin Uzuur at Battsegel soum, Chuluut Gol at Undur-Ulaan soum, Arkhangai province. The drawings, symbols, stamps, and images carved on the rocks, especially the images of wild animals, are mainly related to the hunting life of the people who lived in Mongolia from the earliest times. In addition, it is a fact of ancient history that reflects the characteristics and forms of life and worldview of the people of the Bronze Age. The image of a chariot carved into a rock is one of the remarkable monuments associated with the Bronze Age. For example, in 1962, the Mongolian-Russian expedition group found a painting of a four-wheeled chariot with four horses on the rock of Tevsh Mountain at Bogd soum, Uvurkhangai province. Many scholars paid attention to the image of this chariot at the time. Academician A.P. Okladnikov related the chariot to the Tagar period of Siberia (YII-I century AD) and proposed that the main spirit of the ancient tribes who lived in agriculture and animal husbandry is like a chariot with the radiant sun floating in the sky. Archaeologist D. Dorj compared it with chariots from graves in Altai, Central Asia, and the Caucasus, and dated it to the 3rd-1st century BC, it was first created in the late Bronze Age and was widely used in the 11th-13th centuries through the Huns (Xiongnu), Turks, and Khitan, and he considered that it was the origin of the "house carriage". Russian scientist P. M. Kozhin put forward the third suggestion that it covers the beginning of the Yin period, or in the 17th-13th centuries BC.
In 1969, Mongolian-Russian archaeologists who worked in western Mongolia found a painting of a horse-drawn chariot, similar to the rock chariot of Tevsh, but with a unique design, on Yamaan Usni Khad at Uyench soum, Khovd province. A Painting of a two-wheeled chariot with four horses was also found here. The chariot paintings carved on the rocks of Mongolia usually have a single leg, a round neck, and wheels that are quite different. For example, chariot wheels found in Chuluut River, Modtoi Tolgoi, and Darvi soum are shown without spokes, and chariot wheels on the rocks of Uyangiin Uzuur, Yamaan Us, Tsagaan River, and Tevsh Mountain were described with 1-8 spokes.
It shows the development of the chariot wheel, often depicting simple carts, while the Goat Water Rock depicts a chariot with a cabin, and the Tewsh Mountain Rock depicts something like a home among four-wheeled carts. It shows the development of the chariot wheel, often describing a simple chariot, while a chariot with a cabin is described on the Rock of Yamaan Us, and something like home among four-wheeled chariots is described on the Rock of Tevsh Mountain.
Thus, it is possible that a simple horse-drawn chariot like the one on the Rock of Modtoi Tolgoi appeared in Mongolia in the 3rd or 2nd millennium BC, and then it evolved into a horse-drawn chariot with a cabin, and the "House Carriage" painted on the rocks of Tevsh Mountain.
Rock paintings in terms of subject matter, content, imagery, and design to divide following:
1. Theme on wild animals
2. Theme on everyday life (related to human activity)
3. Theme on worship and funeral rituals
4. Image of the stamp
5. Vague abstract images.
In this way, the classification and systematic study of rock paintings is important for revealing ancient people's mentality, occupation, and drawing skills.
Some images related to the worship of ancient people, symbols of virginity, and symbolic rituals are very interesting. For example, a rock painting related to the Ancient period describes "armored shamans". Scientists interpret the image of a person who at first glance looks like a "bell" and sometimes even a "bird" in many ways. This paintingwas called "Hornedbodged - early udgan", "cloak and horned human figure"1, "cloak"2, "shaman's armor"3, as well as a bell-shaped man, birdman, and shaman. About 10 paintings describing "armored shamans" have been found in places such as Tsagaan Salaa-Baga Oigor, Shiveet Khairkhan, Khoid Khultsuut, and Kharganat River. It is interesting that such images sometimes have a "bird head", sometimes a "cow head", with pointed horns, and sometimes a head with a long rod that looks like an "antenna", which may be related to the "bird" and "cow" religious. Rock paintings describing shamans in armor are related to the Hemtse culture, and scientists believe that the date of AD is 2600-1800 years.
As a result of the recent study of rock paintings in Mongolia, it has been found that trees are described on the rocks of several places such as Tsagaan Salaa, Baga-Oigor, Shiveet Khairkhan, and Khoid Khultsuut. On the rocks of Shiveet Khairkhan, a case was found where a tree was attached to a cow's horn. In addition, eleven oxen are described carrying what appears to be a unique "idol tree" on the rock of Tsagaan Salaa and Baga-Oigor. It is a rock painting of one or two long trees sticking out from what is being carried on the back of an ox and many short parallel forked branches from its sides.
Academician D. Tseveendorj said about the tree carved on the rock of Shiveet Khairkhan: "...the image of the cow (bull) is not only large but also has its horns joined at the ends in a ring shape (a symbol of the sun or the moon) and a general shape of a tree is drawn on top of it"4. It is not a deer horn in the form of a tree with many branches, but it may be the "tree of life" and "tree of heaven" in the legends that are widely spread among the peoples of the world.
Many designs and descriptions of human death and burial rituals have been found in rock paintings. Especially in the rock paintings of the Altai Mountains, there are a lot of paintings showing burial rituals of people, which may be related to the fact that ancient
'В.Д. Кубарев. Хронология и интерпретация сюжетов. В.Д. Кубарев, Д. Цэвээндорж, Э. Якобсон. Петроглифы Цагаан-Салаа и Бага - Ойгура (Монгольский Алтай), Новосибирск, 2005. х.76
2Ts.Turbat, N.Batbold, B.Umirbek, Ya.Bemmann.Preliminary results of the 2019 of expedition group for analysis of the painting on the Khemtseg Rock. The results of the expedition group of "Mongolian Archeology-2019" in Archeological Institution under Science Academy. UB., 2019. p.3
3B.Umirbek. Archeological Monuments in Bayan-Ulgii province.UB., 2019. p.52-53
"D.Tseveendorj, В.Д.Кубарев,J.Bazarsuren, Ts.Ochirkhuyag.a figure of Hunting Man on the Rocks of TsagaanSalaa and Baga-Oigor. KharSuld. № 1 (02), VolII, Book 2. UB., 2003, p.11-24
ancestors had to "bury near mountains and water" when a person died. Scholars consider that the description of a cross-legged person being carried on the back of an ox within a square enclosure represents a burial ritual.
There are many interesting compositions related to the "horn" totem in the rock paint-ingsof Mongolia1. For example, rock paintings commonly describe the "sun and moon" by representing the "cow's horn" or adding various images to the horns of any animal to symbolize their thoughts and behavior. Describing the "wishing tree" by attaching it to cow horns, and decorating cow and deer horns which seems to be inseparable from the "totem" worship of the ancient people.
Warriors fighting with each other wearing two different types of "horns" (deer antlers) on their heads were described in the rock paintings of Tsagaan Salaa and Baga-Oigor. This proves that "deer" and "deer horn" worshipers lived in Mongolia since the Bronze Age.
Among the rich monuments of rock paintings created by the inhabitants of Mongolia since ancient times, the description and their meanings are interesting, especially the appearance of unique horses, the rituals associated with horses, and labor. Figure of horses was mostly described as methods of engraving and hollowing on the rocks of Del Mountain at Ulziit soum, Dundgovi province, Bichigt Khad of Bayan Uul at Bayanlig soum, Bayank-hongor province, Tsagaan Salaa, Baga-Oigoriin Gol at Ulaankhus soum, Shiveet Khairkhan, Biluut Uul at Tsengel soum, Khultsuutin Gol at Buyant soum, Bayan-Ulgii province
However, the methods of hollow carving of the image over the entire area, hollow carving of the general image, and hollowing of the head and chest are mainly used. Through the image of a horse, people express their dreams and conflicts, as can be seen in the pictures showing the horse having a particularly large size or having its mane and tail trimmed and decorated, wearing a vintage necklace around the head, and breeding action of a horse. In other words, the ancient man carved in the rocks his sincere desire to know the nature and hidden connections behind life's conflicts, joys and sorrows, death, birth, illness, and death.In addition, they created the image of a horse based on the motifs of their clan's emblems and sacrificial idols.
When observing the image of the horse in the rock paintings included in our study, the descriptionof the horse is mainly from the steep side or right and left side. However, we have not yet found a description of a horse seen straight from the front or from behind. Firstly, the painters of the primitive period not only created a unique image of horses or livestock but also the history of the development of their aesthetic thinking can be felt from the description of horses and animals immortalized in rocks. In particular, it is common and unique that horses are carved in a larger size than others on rocks such as Del Mountain at Ulziit soum, DUndgovi province and Shiveet Khairkhan, Biluut Mountain at Tsengel soum, Bayan-Ulgii province. For example, the size of the horse painted on the rocks of Biluut Mountain is 235 cm x 180 cm, which is larger than the large deer. Horses are described in large drawings, probably due to the fact that ancient people domesticated wild horses, and as a result, the role and importance of horses in human life became higher than other animals such as deer.
Conclusion
The unique culture and customs of many tribes and ethnic groups that have lived in the steppes and plains of Mongolia since ancient times and their roots have been handed down to us today and have left their mark on people's daily life and in the field of culture and art.
'B.Umirbek. Nomads with "Cow's Horn" wisdom. "Studies of Nomads' Heritages". Tomus XI, Fasciculus32. UB.,2011. p.63-70
Therefore, there is still a need to study and clarify the meaning and description of the "stone scriptures" that reveal the history of ancient human life, customs, and intellectual development.
The animals described on the cave walls and rocks are a manifestation of the belief in the magical power of the people of that time and maybe their idols (totems). In other words, it is considered that the people of the time of the primitive period created on the rocks in this way with the intention of keeping the animals under their control.
In the plate (mirror) of the rock, a majestic bull with huge horns was carved very clearly, and an oval depression symbolizing breeding was marked just below the navel, and it may be a manifestation of a mysterious magical technique. Scholars consider that the description of a cross-legged person being carried on the back of an ox within a square enclosure represents a burial ritual.
The image of the "armored shaman", which indicates ancient religious rituals, at first glance, looks like a "bell" and sometimes even looks like a "bird", and this type of image has a "bird head", "cow head", with curled horns, and sometimes it looks like an "antenna" is described with a long rod-grown head.
The trend of describing trees attached to the horns of cows and oxen carrying what appears to be the "Tree of idols" may be related to the "tree of life" and "tree of heaven" in ancient myths.
Describing the "sun and moon" by representing the "cow's horn" or by adding images to the horns of any animal to symbolize one's thoughts and behavior may be related to "horn worship". For example, depicting the "wishing tree" by attaching it to the horn of a cow, and decorating it with the horns of a cow or a deer seems to be inherently related to the "totem" worship of ancient people. In addition, the warriors fighting each other are described as wearing two different types of "horns" (deer horns) on their heads, which evidences that "deer" and "deer horn" worshipers lived in Mongolia since the Bronze Age.
When drawing, the ancient "painters" did not focus on the external appearance and type of people, livestock, animals, and things, but were able to capture and reveal the hidden and inner nature (inspiration) and wisdom as much as possible.
Thus, in this way, the further development of the knowledge of ancient people is manifested by the search for the inner nature and relationship of any phenomena of nature and society, They sought to see them in connection with other things, and they highlighted the imaginations for expressing the main characteristics of the phenomena.
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Appendix figures
Fig 1. Khoid Tsenkheriin Agui. Mankhan soum, Khovdprovince
Fig 2. Rashaan Khad. Binder soum, Khentii province
Fig 3.1. Rock Paintings in Ikh Tengeriin Am. BogdMountain, Ulaanbaatar 3.2. Rock Paintings in Bichigt. Bugat soum, Bulgan province 3.3. Rock Paintings in Gachuurt. Bayanzurkh soum, Tuv province 3.4. Engraved painting of a square tomb. Battsengel soum, Arkhangai province
Fig 4. Face mask. Monuments of Khemtseg Culture. Tsagaan salaa. Baga-Oigor. Ulaankhus soum, Bayan-Ulgii province
Fig 5. Shaman's armor. 1. Khoidkhultsuut. Buyant soum, Bayan-Ulgiiprovince. 2. Kharganat River. Tsengel soum, Bayan-Ulgii province. 3-18. Tsagaan salaa, Baga-Oigor. Ulaankhus soum, Bayan-Ulgii province
Fig 6. Funeral rituals. Rock painting in Khoid Khultsuut. Buyant soum, Bayan-Ulgii province
Fig 7. "Horn" totem. Rock Paintings in Tsagaan salaa, Baga-Oigor. Ulaankhus soum, Bayan-Ulgii province
Fig 8. Horseman. Rock Paintings of Shiveet Khairkhan. Tsengel soum, Bayan-Ulgii province
Fig 9. Horse
Rock Paintings in Biluut Mountain. Tsengel soum, Bayan-Ulgiiprovince (Among the rock paintings found in Mongolia, it is currently the largest in size,
235 cm x 180 cm.)
