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The Petroglyphs of the Tamgaly Archaeological Landscape

The Tamgaly tract is located 170 km northwest of Almaty, in the southeastern part of the Chu-Ili Mountains, which stretch from south to north from the Trans-Ili Alatau to Lake Balkhash and the Betpak-Dala desert. The location and nature of Chu-Ili have from ancient times determined the direction of the seasonal migrations of large herds of animals (saigas, kulans), and later the routes of many of the peoples settling across the expanses of Asia. At this peculiar crossroads of ancient roads, as early as the Bronze Age, more than 3000 years ago, there arose a mountain sanctuary with thousands of petroglyphs which, by the design of their creators, adorned the rock surfaces of the small Tamgaly Canyon.

The Chu-Ili Mountains lie in a desert zone with an arid, sharply continental climate; today this is one of the sparsely populated areas of Semirechye. There are few rivers here, and many of them dry up in summer; during the hot period only the brackish water of springs and pools provides people and animals with moisture. There are no forests here, and single trees are rare, but the mountain slopes are covered with dense shrubs. The sparse grassy vegetation becomes brighter and richer in spring, clothing the mountains and plains in the variegated colors of flowers. With the onset of the summer heat the vegetation quickly turns yellow, and until late autumn only the floodplain of the Tamgaly River retains the greenery and freshness of an oasis. Tamgaly is home to rare plant species found only in the Chu-Ili Mountains and listed in the Red Book of Kazakhstan — Regel’s tulip, Kuschakewicz’s juno iris and others in need of special protection. Among the wild animals here live wolves, foxes, hares, tortoises, snakes, and also numerous birds, including birds of prey — the steppe eagle, the red-footed falcon and the saker falcon. The deserted and seemingly uninhabited world of the desert is filled with life and a special beauty. The picturesque relief of the Tamgaly tract took shape over the long geological history of the Chu-Ili Mountains. The main role in this process was played by neotectonic movements, the youngest of which are about 1 million years old. The boundary between the mountains and the broad plain stretching north of Tamgaly marks the line of an ancient fault, as a result of which the earth’s surface once rose and a high escarpment was formed; water and wind erosion completed the formation of the river valleys that made their way through a chain of low mountains with dome-shaped and flat summits (low-hill terrain).

The most striking attraction of Tamgaly is a small canyon formed at the mouth of the gorge. Here, on the fanciful bends of the valley, the rocky slopes at times come right up to one another, forming an almost enclosed space. Over many millennia the wide, smooth rock surfaces became covered with “desert varnish”, becoming the ideal backdrop for this gallery created by no human hand, in which more than one generation of ancient masters — the creators of rock art — did their work. For centuries, for the different peoples who left their mark on the history of Kazakhstan, the rocks of the canyon and the narrow Tamgaly valley retained the significance of a sanctuary — a place where ritual ceremonies were held, magic rites were performed, and worship was paid to gods and ancestral spirits. The tradition of worship at Tamgaly lives on to this day: it is visibly attested by the colorful scraps of cloth tied to the branches of shrubs and by other simple “offerings” of modern pilgrims.

About a hundred different monuments are known in Tamgaly — settlements, burial grounds, altars and petroglyphs belonging to the Bronze Age, the Early Iron Age, the Middle Ages and the Modern period. Concentrated within a comparatively small territory, together they form an archaeological complex embodying the history of many ancient and modern peoples of Kazakhstan over the course of three millennia.

The most ancient inhabitants of Tamgaly were the Bronze Age tribes of the Andronovo culture, who inhabited the lands of Kazakhstan in the 2nd millennium BC. The origin of these tribes remains a matter of debate, but their connection with the Indo-Iranians — herders and farmers, skilled metallurgists and masters of swift battle chariots — is the most likely. Having chosen this picturesque place, the first inhabitants of Tamgaly transformed the world of nature around them: creating petroglyphs, setting up dwellings or stone tombs, they brought into the landscape their own understanding of the order of the world. For the succeeding generations of peoples that replaced one another — the Sakas and the Usuns, the ancient Turks and their descendants the Kazakhs — this inner orderliness of Tamgaly was perceived as a heritage of the ancestors and was preserved, hallowed by tradition.

Throughout all ages the heart of the complex remained the canyon, on whose rocks, conventionally designated as Groups I-V, about 3000 petroglyphs have survived. Nearby, at the foot of a solitary mountain, lies an extensive necropolis where the most ancient burials were made in the 14th-13th centuries BC; on the foothill plain, the kurgans of the nomads of the 1st millennium BC – 1st millennium AD stand out in separate groups, including a kurgan with stone ridges called “whiskers”. This entire territory, including the canyon with its petroglyphs, was from the most ancient times a cult zone, within which people did not live and which they visited for ceremonial purposes.

The everyday life of the inhabitants of Tamgaly took place on the periphery of the tract; here archaeologists find the remains of ancient settlements and camp sites. Settling in clans and families, people chose convenient sites in small intermontane valleys with springs nearby, where the hilltops sheltered them from winter winds and, of course, from sudden raids. The mountain conditions of the tract limited the choice, so many sites once settled by people continued to be used by subsequent generations. Gradually the old buildings turned into ruins and became covered with earth, and new ones arose in their place. Thus, at the Tamgaly I settlement, the remains of a stone dwelling with a hearth inside, built at the end of the Bronze Age (12th-10th centuries BC), were found buried under a three-meter layer of earth that had accumulated as a result of almost continuous habitation here until the end of the 19th century. Far from all the monuments of Tamgaly have been well studied, so many questions still remain unanswered.

The petroglyphs of Tamgaly are the most important scientific source and, moreover, possess enormous artistic value. The creators of the ancient drawings skillfully used the phenomenon of “desert varnish” — a very thin patina layer covering the rock surface and formed by oxides of magnesium, manganese and iron, as well as by colonies of particular species of microorganisms. With strong blows of a stone or metal tool, the master artist removed the layer of patina along the outline of the drawing, achieving the required effect: the light image stood out in sharp contrast against the dark background of the rock. But over time, after centuries, the images again became covered with “desert varnish”, the drawing darkened and was lost against the background of the rocks. The brightness of a drawing could be enhanced only by knocking off the patina once more, that is, by renovating the petroglyphs.

At Tamgaly one can sometimes see images carved on a single rock surface that differ noticeably in color; as a rule, the darkest petroglyphs, barely discernible on the surface, are the most ancient, while medieval and modern drawings look much lighter. Often petroglyphs created at different times overlap one another; such multilayered compositions (called palimpsests) and the color of the patina help to determine the relative age of the drawings.

The age of the Tamgaly petroglyphs can be established more precisely thanks to finds of drawings on building stones from ancient graves and dwellings studied by archaeologists: by determining the age of the burials and settlements by radiocarbon analysis or from artifacts typical of a particular epoch, the age of the drawings themselves is established. Finds of images on the walls of Bronze Age graves helped to determine the time when the most ancient petroglyphs of the sanctuary were created: the end of the 14th – 13th centuries BC.

The age of the petroglyphs can also be judged from depictions of real items of weaponry or clothing whose existence in a given epoch is established from other sources. For example, horse-drawn chariots as a type of combat transport appeared among the tribes of Kazakhstan in the Bronze Age in the 16th-15th centuries BC, but already by the beginning of the 1st millennium BC they had lost their significance with the mastery of horseback riding and the spread of mounted warfare. The appearance of stirrups, rigid saddles, pikes and sabers accompanied the conquests of the ancient Turkic tribes of the 1st millennium AD.

Petroglyphs of the Saka period are easily recognized by the specific manner of depicting animals, known as the “animal style”. Finds in Tamgaly and at other monuments of Semirechye of petroglyphs in the style of the “deer stones” of Mongolia and Altai testify to the contacts and migrations of the peoples who inhabited these territories at the beginning of the 1st millennium BC.

Of particular historical value are the inscriptions (an ancient Turkic runic inscription of the 9th-10th centuries, an Oirat one of the late 17th – mid-18th century, and Kazakh ones of the 19th century) and the clan tamgas left on the rocks by the different peoples for whom the Tamgaly tract was a place of habitation and a shrine.

The creators of the first Tamgaly petroglyphs — the artists of the Bronze Age — were not as constrained in their work by the shortage of free rock surfaces as the masters of subsequent epochs. Therefore they occupied the widest and smoothest surfaces, glittering with the sheen of patina. The drawings of the Bronze Age are distinguished by their size: on average 25-30 cm, sometimes up to 60-70 cm and 1 m. It can be noticed that many petroglyphs on the rocks of Groups I-V are strikingly similar in technique and manner of execution, as if made by one and the same master. Along with the images of wild bulls, horses and kulans, deer, boars and wolves, the main characters are fantastic anthropomorphic heroes: monsters dressed in animal skins with curved, hook-like arms, valiant warriors with maces and battle axes, and, of course, supreme gods with radiant halos around their heads.

Kazaktourism.com

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