THE ROCK ART OF IKH ALAG
The rock art of Ikh Alag, located in Öndörshireet district of Töv province, was first discovered in 1925 by the expedition of G.I. Borovka, and later thoroughly studied in 1960 by archaeologists N. Ser-Odjav, D. Dorj, and A.P. Okladnikov. All the images on these rocks are carved in relief.
The first group of images includes circular loops, two seals shaped like the letter “N,” a running gazelle on the right, a stylized figure behind it, and to the west, the image of a gazelle or stag facing upwards.
The second group mainly features various depictions of gazelles in different shapes, sizes, and movements. Besides these, there are two-humped camels, other stylized animals, argali sheep, stags, dogs, gazelles, as well as some long lines, seals, and dots. The use of stylization for some animals makes it difficult to precisely identify which species are depicted.
The third group shows many images of stags, mostly their antlers, carved similarly to the depictions found on deer stone monuments. All the heads face east, and among the images is a large-bodied stag with a missing head, positioned next to two running gazelles on the right. On the left side, there is a simple outline of a human figure, and below, a handle-shaped loop.
The fourth group includes a gazelle with its neck arched facing right, a long-bodied animal with a lowered head, one gazelle below, three stags overlapping each other (with the top stag’s antlers having many tall branches), seal-shaped figures, two animals on the left, four animals horizontally on the right, many overlapped animals, a small person with lowered arms, a seated archer, a gazelle leaping to the left, two stags facing right at the top, two fine lines forming an angle, a symbol resembling the letter “P,” two animals lowering their heads between these symbols, a gazelle with half its body missing, various figures of argali sheep, two stags arranged vertically (one with its rear shown, the other with its head incomplete), a stylized stag facing left, an outline of a male human, seal-shaped figures, a group of stags and bulls, three gazelles to the right, a large animal, and below it, a stylized stag — all these are carved in relief.
The fifth group features a gazelle with a long neck and large antlers facing right, two long-necked camels with two humps facing right, overlapping images, and a large-antlered gazelle with its tail curved. The last gazelle is depicted emphasizing its male sex.
These rock art of Ikh Alag are dated to the Bronze Age.
THE ROCK ART OF BUDARYN CHULUU
The Budaryn Chuluu site, located about 70 kilometers east of the center of Ongon soum in Sukhbaatar province, is a rocky cliff area with unique formations known locally as “Dogshin Budaryn Chuluu” (Fierce Budaryn Rock). On a roughly 8.7-meter-long vertical rock wall in the middle of Budaryn Chuluu, two sections of images depicting humans, horses, livestock, and wild animals are carved in relief over the entire surface.
The Budaryn Chuluu rock art site not only extends the known distribution of petroglyphs in Mongolia as far east as this region but also reflects unique characteristics in themes, content, and carving techniques. Before it was discovered and studied in 1996 by the joint Mongolian-Korean “Eastern Mongolia” field research project, no rock art had been found in this area (Sukhbaatar and Dornod provinces).
The rock art here notably shows the relationship between humans, wild animals, and nature specific to the local region. Unlike a random collection, the images within one panel present meaningful narratives, illustrating the interactions and daily lives of clan members during that era. The style shows humans and animals rendered relatively realistically, with a prominently large human figure centered between the two panels — a common subject in Bronze Age petroglyphs.
The depiction of horses, highly valued and used as mounts during the late Bronze Age, is particularly notable here, showing humans leading or riding horses, a motif typical for that period’s rock art. Archaeological findings in eastern Mongolia show horse bones are the most frequently found among Bronze Age burial remains, emphasizing the importance and reverence for horses. Unlike Paleolithic depictions of wild horses with large bellies and short legs, Budaryn Chuluu’s images show horses being led by humans, helping researchers roughly date the artworks.
An interesting feature in the first image panel is a vertically oriented, stepped, transverse carved line, a rare motif. Similar red ochre painted lines appear in the Bronze Age petroglyphs near Ulaanbaatar at Ikh Tenger and Gachuurt valleys, as well as in Bayanzurkh soum of Khuvsgul province and in Bulgan province’s Bugat soum at Bichigt Khad, where vertical lines with flattened lower ends are painted. Such red ochre motifs are generally dated to the 2nd-1st centuries BCE. However, no such motifs have yet been found in relief carvings like those at Budaryn Chuluu.
Among the relief carvings at Budaryn Chuluu, human figures are the most numerous, all depicting various actions. Images of humans leading dogs or horses, holding hands, chasing, wrestling, or overlapping are rendered using traditional outlining techniques. Unlike Paleolithic red ochre paintings, which do not depict humans, the presence of humans with dogs here suggests early domestication and use of dogs as faithful companions and hunting partners. Bronze Age rock carvings frequently show dogs accompanying humans during hunts.
Another major theme in the Budaryn Chuluu rock art is the depiction of wild animals native to the area, including gazelles, roe deer, wolves, and saiga antelopes. The saiga images resemble those found at sites in Khovd province’s Baatar Khairkhan, Övörkhangai’s Tevsh Mountain, Dornogovi’s Del Mountain, and Ömnögovi’s Aravjikh, characterized by elongated snouts and standing on all four legs without overlapping limbs. Gazelles and wolves at Budaryn Chuluu are depicted very clearly and prominently, often shown standing facing horses or humans, or running away.
One notable image is that of a snake. Snakes are commonly depicted in rock art and were believed by ancient people to embody both good and bad omens. In various Asian and American indigenous myths, snakes can symbolize misfortune or be revered as sacred water spirits. The inclusion of snakes among the nine sacred spirits in shamanism suggests an ancient shamanistic tradition.
The images at Budaryn Chuluu, carved into the smooth flat rock surface by relief engraving of humans, livestock, and wild animals over the entire area, are dated by scholars to the late 2nd millennium BCE to the early 1st millennium BCE, based on carving techniques, stylistic features, and thematic content compared to other Mongolian sites.
ISHGEN TOLGOI ROCK PAINTINGS
Ishgen Tolgoi is a rock formation located about 7 kilometers from the center of Mankhan district in Khovd province, near the northern area of the Tsenkher River. On this rock, over 150 images of humans, livestock, and animals have been carved in bas-relief, outlining the general shape of the bodies. These include 1 human figure, 18 horses, 13 cattle, 19 representations of deer, roe deer, and musk deer, 1 camel, 17 Siberian ibex (yangir), 11 argali sheep, 5 snakes, 3 bears, 9 various symbols, and 53 figures of unclear species.
Among the petroglyphs from the Paleolithic period recorded in Mongolia, five are known, three of which are located in Khovd province. Ishgen Tolgoi is one of these notable sites.
The other two are the Tsenkher Cave paintings and the Chandmani Khar Uzuur rock art. Ishgen Tolgoi is distinguished by the depiction of a multicolored bear, which provided evidence that bears once inhabited Mongolia. Unlike the Tsenkher Cave paintings, the images here are engraved rather than painted.
Researchers have also found many stone tools with gravel coverings from the Paleolithic era in this area. The Tsenkher River valley has been inhabited since ancient times by hunters and gatherers who left behind their crafted tools as well as remarkable works of art and culture.
The animal figures on the Ishgen Tolgoi rock face are oriented in various directions, not clustered or uniformly aligned. Due to the effects of time, the engraving’s colors have faded and now blend almost indistinguishably with the rock surface; however, by manual scraping, the incised nature of the images remains evident, signifying their great antiquity.
Compared with other petroglyph sites, most images are on the leeward side of rocks, sheltered from the wind. However, Ishgen Tolgoi’s images are carved on the windward side, exposed to constant winds.
The artists clearly aimed to emphasize distinctive characteristics of the animals: the Siberian ibex is portrayed with elegantly curved horns along its back without touching the spine, while the argali’s horns are depicted in a semi-circular shape overlapping at the tips with a rugged texture.
The bodies of the animals are carved in bas-relief, with the heads deeply incised and concave. This technique was a characteristic method of rock art during that period. Additionally, the animals’ abdomens and legs are often incomplete, with certain parts deliberately omitted.
Male animals such as horses, cattle, and deer on Ishgen Tolgoi rock are depicted with the engravings carved in concave relief, clearly indicating their gender characteristics.
CHANDMANI MOUNTAIN KHAR UZUUR ROCK ART
Located in Buyant district of Khovd province, the Khar Uzuur rock art features numerous animal figures carved in bas-relief. Most of the animals are depicted in groups. Three main techniques were used to depict the animals: carving the general outline of the animal’s body in bas-relief, carving the entire body of the animal in bas-relief, and engraving the chest area of the animals fully in bas-relief with hammering.
The main theme of the art is wildlife, with horses, cattle, deer, argali sheep, and Siberian ibex being the primary subjects. There are also a smaller number of wolves, foxes, and snakes depicted. The animals are portrayed grazing calmly and peacefully in herds.
Male animals such as deer, cattle, and horses are clearly depicted with identifiable sexual characteristics, and circular depressions symbolizing reproduction are carved beneath them. Female animals, including cows, are shown together with their calves.
Chandmani Mountain itself is distinctive and unique with its red-colored rocks that remain visible and unchanged from any angle. The mountain has clear water springs rich in bicarbonate, sulfate, and magnesio-calcite cold mineral waters, which are beneficial for digestive ailments.
The area also contains burial sites with cultural artifacts dating from the Bronze and Iron Ages. A study conducted in 1976 named this cultural heritage the “Chandmani Culture.”
Tourists Can Explore in Petroglyphs Mongolia – Part – 1 is here.