The research focuses on iconographic and stylistic analysis of otnithomorphic images in the ornamental graphic style which are typical for Chalcolitic and Early Bronze periods in the Ural and Trans-Ural regions. They are also typical for the art of Developed Bronze period in Tom-Narym Ob. Two stylistic groups of birds images are allocated, their features and development tendency are presented. The author proposes a hypothesis on the independent development of iconography and style of ornithonorphic images in Samus art.

During the past decade’s research works at elite barrows of early Saks period in Central Kazakhstan a unique collection of objects illustrating esthetic tastes of local tribes of the early Iron Age was obtained. Findings from burials of the Saks nobility of Saryarka show the main directions of cultural interactions in the early Iron Age.

The paper introduces 9 Qipcaq statues (middle 9th – early 13th centuries) newly found in Sary-Arka (Kazakh low mountain land), 6 of them having been found as parts of ritual structures, ‘sanctuaries’. Iconographic features of the published statues are analyzed; similarities between Qipcaq and Polovtsian statues, which are relevant for solving the problem of Polovtsian sculpture origins, are revealed. Besides, the paper raises the question of natural factors forcing the statues upwards, in particular, the force of frost heave.

The paper addresses the history of formation and development of Kemerovo scientific archaeological school of primitive art researchers, which is currently one of the most authoritative in this field in Russia and abroad. The early formation and establishment of the school is associated with the name of A. I. Martynov. J. A. Cher and B. N. Pyatkinmade a great contribution to its development. Today, the activity of the school is primarily due to such researchers as O. S. Sovetova, L. N. Ermolenko, E. A. Miklashevich, A. N. Muhareva; the head of the school is V. V. Bobrov.

The paper addresses a Tomskaya Pisanitsa composition. Based on ethnographic parallels and attributes of characters, a new interpretation of the scene with an anthropomorphic character and an elk cow is presented. The key meaning of the scene is the Shaman's statute appropriation through his invocation to the Shaman's Mother-Animal.

The paper addresses on the recent facts from the history of studying Tomskaya pisanitsa. The paper focuses on the discussion between G. I. Spasskiy and J.-P. Abel-Rémusat.

The paper addresses the history of the development of women’s costumes as it is revealed in petroglyphs of the Sayan Altai. The pictorial material is analyzed with regard of the epochs (from the Eneolithic period to the present). A conclusion is made about the functions of the female costume, as well as its impact on the social role of women in ancient and medieval times.

The paper deals with the modern aspects of studying rock art: the relations between rock art sites and geoenvironment, rock art and the historical process, the issues of rock art and burial art, and defining rock art sites as natural historical sanctuaries.

The paper focuses on researching the meaning of Siberian figurines of the Neolithic and Chalcolithic Period. The figurines are considered to be symbols of power and ritual items. The research was conducted in the context of the places where the figurines were found. Typological analysis and suppositions of the expected function of the figurines were made as well.

The paper analyses the stylistic variants and technique peculiarities of Ulazy rock images (Minusinsk Basin) dating back to the 1st millennium AD.

The image of the wolf is analyzed in the paper in relation to the items on which it was depicted. The plot (partial or complete reproduction of the figure, posture), composition (fight scenes, laceration, a combination of images of different animals) and local features of images of the wolf on wares originating from the monuments of the Eurasian steppes early nomads are investigated, the existing points of view on the image semantics of this predator are summarized.

The article is devoted to the analysis of the image traditions in the rock art of Tepsei archaeological micro-region in the context of the archaeological materials obtained during the Krasnoyarsk archaeological expedition in the 1960s – 1970s. The earliest petroglyphs were depicted in the «Minusinsk» and «Angara» styles, though excavation materials dated by the Aeneolithic period were not found there. The most representative series of images are dated by the Bronze Age, the Early Iron Age and the Tesin period. They are corresponded to the numerous materials discovered at the excavations. Tashtyk culture is presented by the unique excavation materials; petroglyphs of this period are rather rare. The Middle Age images are expressionless and, commonly, attributed poorly while the excavated material is extensive and various. Different stylistic groups within concrete image traditions are revealed.

The paper gives some examples of non-contact methods of rock art investigation.

The article deals with the interpretation of the appearance and functions ofWest Siberia composite adornments, The main types of the Bronze Age head-wear and clothes decorations, as well as the territorial and chronological peculiarities of their distribution are distinguished.

This paper addresses the some theoretical questions of ornamental traditions allocation. Traditional features in ornaments are analyzed with settlement complexes of Artyn culture in Barabian Foreststeep and Middle Irtysh region taken as examples. The comparative characteristic with neighboring cultures traditions is given; the suppositive layers of Artyn tradition also are distinguished.