Egyptian rock paintings title. Development of painting in ancient Egypt

There is something magically attractive and at the same time sad in petroglyphs. Names talented artists antiquities and their history we will never know. All that remains for us are rock paintings, by which we can try to imagine the life of our distant ancestors. Let's take a look at 9 famous caves with cave paintings.

Cave of Altamira

Opened in 1879, Marcelino de Sautola in Spain is called the Sistine Chapel for a reason. primitive art. The techniques that were in service with ancient artists, the Impressionists began to use in their work only in the 19th century.

The painting, discovered by the daughter of an amateur archaeologist, made a lot of noise in the scientific community. The researcher was even accused of falsification - no one could believe that such talented drawings were created millennia ago.

The paintings are made realistically, some of them are three-dimensional - a special effect was achieved using the natural relief of the walls.

After the opening, everyone could visit the cave. Due to the constant visits of tourists, the temperature inside has changed, mold has appeared on the drawings. Today the cave is closed to visitors, but there is a museum not far from it. ancient history and archaeology. Just 30 km from the Altamira cave, you can get acquainted with copies of rock paintings and curious finds of archaeologists.

Lascaux cave

In 1940, a group of teenagers accidentally discovered a cave near Montillac in France, the entrance to which was opened by a tree that had fallen during a thunderstorm. It is small, but there are thousands of drawings under the vaults. Some of them were painted by ancient artists on walls as early as the 18th century BC.

It depicts people, symbols and in motion. The researchers divided the cave into thematic zones for convenience. Drawings of the Hall of the Bulls are known far beyond the borders of France, its other name is the Rotunda. Here is the largest rock art, of all discovered - a 5-meter bull.

Under the vaults there are more than 300 drawings, including here you can see animals ice age. It is believed that the age of some paintings is about 30 thousand years.

Cave Nio

In the southeast of France is located, about the painting inside which locals known in the 17th century. However, they did not attach due importance to the drawings, leaving numerous inscriptions nearby.

In 1906, Captain Molyar discovered a hall with images of animals inside, which later became known as the Black Salon.

Inside you can see bison, deer and goats. Scientists believe that in ancient times, rituals were performed here to attract good luck on the hunt. For tourists, next to Nio, the Pyrenean Park of Prehistoric Art is open, where you can learn more about archeology.

Koske Cave

Not far from Marseille is located, which can only be entered by those who can swim well. To see the ancient images, you have to swim through the 137-meter tunnel, located deep under water. opened unusual place in 1985 by diver Henri Koske. Scientists believe that some images of animals and birds found inside were made 29 thousand years ago.

Kapova Cave (Shulgan-Tash)

Cueva de las Manos Cave

In the south of Argentina in 1941, they also discovered ancient painting. There is not one cave, but a whole series, total length which are 160 km. The most famous of them is Cueva de las Manos. Its name is translated into Russian as "".

There are many images of human palms inside - our ancestors made prints on the walls with their left hands. In addition, here you can see hunting scenes and ancient inscriptions. The images were taken from 9 to 13 thousand years ago.

Caves of Nerja

The caves of Nerja are located 5 km from the city of the same name in Spain. The rock paintings were discovered by accident by teenagers, as happened earlier in the Lascaux cave. Five guys went to catch bats, but accidentally saw a hole in the rock, looked inside and found a corridor with stalagmites and stalactites. The find interested scientists.

The cave turned out to be impressive in size - 35,484 square meters, which is equivalent to five football fields. The fact that people lived in it is evidenced by many finds: tools, traces of a hearth, ceramics. Downstairs are three rooms. The hall of ghosts scares guests with unusual sounds and strange shapes. The hall of waterfalls was equipped under concert hall, it can accommodate 100 spectators at the same time.

Montserrat Caballe, Maya Plisetskaya and others performed here famous artists. Bethlehem Hall impresses with bizarre columns with stalactites and stalagmites. Rock paintings can be seen in the Hall of Spears and the Hall of Mountains.

Before the discovery of this cave, scientists assumed that the most ancient drawings are in the Chauvet cave. By latest research, our distant ancestors began to engage in creativity even earlier than modern science believed. The results of radiocarbon analysis showed that six images of seals and fur seals were supposedly made 43 thousand years ago - respectively, they are even older. rock art found in Chauvet. However, it is too early to draw conclusions.

Magura Cave

The images in all these caves and the methods of applying drawings are completely different. However, there are also common features. The artists of antiquity conveyed their perception of the world with the help of creativity and shared their outlook on life, only they did it not with words, but with drawings.

From the very beginning of Egyptian culture, painting played the role of the main decorative arts. The painting of Ancient Egypt slowly developed over the millennia. What did the Egyptians achieve during this time?

Walls with bas-reliefs most often served as the basis for painting. Paints were applied to plastered walls. The placement of the paintings was subject to strict rules dictated by the priests. Principles such as the correctness of geometric shapes and contemplation of nature. The painting of Ancient Egypt was always accompanied by hieroglyphs explaining the meaning of the depicted.

space and composition. In Egyptian painting, all elements of the composition look flat. When it is required to present the figures in depth, the artists superimpose them on top of each other. The drawings are distributed in horizontal stripes, which are separated by lines. The most important scenes are always located in the center.

Image of a human figure. Egyptian drawings of people equally include frontal and profile features. To maintain proportion, the artists drew a grid on the wall. Older examples have 18 squares (4 cubits), while newer examples have 21 squares. Women were depicted with pale yellow or pink skin. For creating male image used brown or dark red. It was customary to depict people in the prime of life.

to maintain proportions, the artists used a grid

Egyptian painting is characterized by the so-called "hierarchical" view. For example, the higher the social status of the depicted person, the larger the size of the figure. Therefore, in the battle scenes, the pharaoh often looks like a giant. Images of people can be divided into archetypes: pharaoh, scribe, craftsman, etc. The figures of the lower social strata are always more realistic and dynamic.

Color application. The artists followed a predetermined program, which means that each color had a certain symbolism. It is believed that the origins of the meaning of the colors of Egyptian painting were in the contemplation of the color overflows of the Nile. Let's highlight the meaning of the main colors used by the artists:

• blue - the promise of a new life;
• green - an expression of life's hopes, rebirth and youth;
• red is a symbol of evil and barren land;
• white is a sign of victory and joy;
• black is a symbol of death and return to life in the other world;
• yellow is an expression of eternity and imperishable divine flesh.

The tone of the background depends on the era. For ancient kingdom a gray background is characteristic, and for the New Kingdom it is pale yellow.

Painting of the Old Kingdom

The Old Kingdom covers the period from the 27th to the 22nd century BC. It was then that the construction of the Great Pyramids took place. At that time, bas-relief and painting still did not differ from each other. Both means of expression were used to decorate the tombs of pharaohs, members royal family and officials. During the Old Kingdom, a uniform style of painting was formed for the whole country.

Peculiarities

The first wall paintings are distinguished by a rather narrow colors, mainly black, brown, white, red and green shades. The image of people is subject to a rigid canon, the severity of which is the higher, the higher the status of the depicted. Dynamism and expression are characteristic of figures depicting secondary characters.

Mostly depicted scenes from the life of the gods and pharaohs. Colorful frescoes and reliefs recreate the environment that should surround the deceased, no matter what world he is in. Painting reaches a high filigree, both in the images of characters and in the silhouettes of hieroglyphs.

Example

One of the most significant monuments of the Old Kingdom are the sculptures of Prince Rahotep and his wife Nofret (27th century BC). The male figure is painted brick red, while the female figure is painted yellow. The hair of the figures is black and the clothes are white. There are no halftones.

Painting of the Middle Kingdom

We will talk about the period that lasted from the 22nd to the 18th century BC. During this era, the wall paintings show a structure and order that was absent in the era of the Old Kingdom. A special place is occupied by a painted multicolored relief.

Peculiarities

In the cave tombs, one can see complex scenes that are more dynamic than in previous eras. Additional attention is paid to the contemplation of nature. Murals are increasingly decorated with floral ornaments. Attention is paid not only ruling class, but also to ordinary Egyptians, for example, you can see farmers at work. At the same time, the inalienable features of painting are the perfect order and clarity of the depicted.

Example

Most of all, against the background of other monuments, the murals of the tomb of the nomarch Khnumhotep II stand out. Particularly noteworthy are the hunting scenes, where the figures of animals are rendered using halftones. No less impressive are the paintings of the tombs in Thebes.

Painting of the New Kingdom

Scientists call the period from the 16th to the 11th century BC the New Kingdom. This era is distinguished by the best examples of Egyptian art. At this time, painting reached its highest peak. The spread of tombs promotes the development of painting on walls covered with plaster. Freedom of expression is most clearly manifested in the tombs of private individuals.

Peculiarities

The era of the New Kingdom is characterized by hitherto unknown color gradation and light transmission. Contact with the peoples of Asia brings a passion for detail and ornamental forms. The impression of movement is enhanced. Dyes are no longer applied in an even matte layer, artists are trying to show soft tonal overflows.

Through painting, the pharaohs demonstrated their strength to the border peoples. Therefore, the image of scenes reproducing military episodes was common. Separately, it is worth mentioning the theme of the pharaoh in a harnessed war chariot, the latter was introduced by the Hyksos. Images appear historical character. Art increasingly resonates with national pride. Rulers turn temple walls into "canvases" that focus on the pharaoh's role as protector.

Example

Tomb of Nefertari. It is a perfect ensemble of painting and architecture. IN currently this is the most beautiful tomb of the Valley of the Queens. The murals cover an area of ​​520 m². On the walls you can see some chapters from Books of the Dead, as well as the path of the queen to the afterlife.

• The first surviving ancient Egyptian mural painting was discovered in a burial crypt dating back to the 4th millennium BC, located in Hierakonpolis. She depicts people and animals.
• The ancient Egyptians painted with mineral paints. Black paint was extracted from soot, white from limestone, green from malachite, red from ocher, blue from cobalt.
• In ancient Egyptian culture, the image played the role of a double of reality. The painting of the tombs guaranteed the deceased that in the afterlife the same benefits await them as in the world of people.
• In ancient Egypt, images were believed to have magical properties. At the same time, their strength directly depended on the quality of the painting, which explains the special care with which the Egyptians treated painting.

Despite numerous studies devoted to the painting of Ancient Egypt, far from all the secrets of this art have been unraveled. To understand true meaning each drawing and each sculpture, scientists will have to work for more than one century.

This time I decided to review archeological news from slightly different sources, as well as return to unread artifacts.

Rice. 1. Photo of a tattoo on the body of a mummy of a woman from Egypt

“Whichever way you looked at this woman, you would always see two pairs of eyes of the gods looking at you. Getting these tattoos must have taken a lot of time, and some of these procedures were quite painful. The fact that a woman subjected herself to such torment suggests that she and the people around her believed in the divine power of these tattoos, ”said Anne Austin, an employee of Stanford University.

According to scientists, these tattoos claim to be the most ancient examples of such art in the history of mankind. The village of Deir el-Medina is located near the famous "Valley of the Kings". In the village there was a settlement of artisans who built the tombs of the “rulers of two kingdoms”. All the mummies that became the objects of research were presumably buried in 1300-1070 BC, in the era of Ramses I and his heirs, the pharaohs of the 19th and 20th dynasties.

Archaeologists have found tattoos relatively by accident. Studying the remains of a woman, Austin accidentally noticed unusual stripes on her neck, which she initially mistook for a drawing applied to the body after mummification.

Simple tattoos in the form of stripes and dots have been found on Egyptian mummies before, so Austin decided to enlighten the body of the deceased with an infrared scanner that can "penetrate" a few millimeters into the skin and show whether the drawing is a tattoo or not. Scans showed that the woman's skin was adorned with a record number of tattoos. There were over 30 of them in total, and each part of her body was adorned with one or more designs.

The hips of the mummy were decorated with drawings of a lotus, cows (sacred animals of the goddess of beauty Hathor) “sat” on their hands, and drawings of baboons were located on their shoulders. The shoulders, neck and back of the priestess were covered with drawings of the "eye of the goddess" - the so-called wajit, or the eyes of Horus. Such symbols, applied to amulets and other jewelry, were considered the strongest amulets that protected the owners from damage, disease and other harm.

Scientists noted that so far no one has been able to find such tattoos, so their purpose and role in the life of ancient Egyptian society remain a mystery. According to one version, such drawings could reflect the social status of their owner, apparently a priestess of the goddess Hathor. Drawings of sacred animals could emphasize her movements and actions during religious rites, and the eyes of Horus could emphasize her sacred status. Ann Austin and other archaeologists intend to study other mummies in the hope of finding new tattoos and revealing their essence and purpose.».

After the title, it is emphasized that this is "the first such discovery of scientists."

The discovery of tattoos on Egyptian mummies is Anne Austin's great discovery. However, the joy of the researcher will be overshadowed by the news that the found mummy of a woman has nothing to do with Egyptian society - just read what is written on the tattoo itself.

Rice. 2. My reading of the inscriptions on the tattoo

For the tattoo depicts a portrait of a man on the upper part of the torso in the left profile with his hands raised up. And on the top line separating the headdress from the face, you can read the Russian words: ROME OF THE TERRITORY, on the second line at eye level - the words: RURIKA YARA AND, and at the level of the chin diagonally upwards - the words: TEMPLE OF MARY. At the level of the collarbones, I read the words MARY MIMA. And at the chest level, in large letters, it is written: YARA STAN 30, in other words, WESTERN CAIRO . So this mummified woman was, most likely, a mime of the temple of Mary Rurik, and not at all a priestess of the Egyptian temple.

Rice. 3. Rock art from Egypt and my reading of the inscriptions

Rock paintings of Egypt.

The note says: " Recently, while conducting archaeological work in the Gebel es-Silsila area, near the city of Aswan, which is located south of Cairo, Swedish scientists made a discovery. They discovered rare cave drawings. Interestingly, an abandoned Egyptian quarry became the place of discovery. Archaeologists determined the approximate age of the valuable find. He makes up about 2.5 thousand years.

The drawings are rather poorly preserved, but after a detailed study, the researchers are ready to comment on the finds. One of the illustrations depicts, poorly studied at the moment by science, cult of the moon. It represents the ancient Egyptian god of wisdom Thoth and chief god- Amon-Ra. Amon-Ra has a characteristic double feather, and Thoth has a lunar disk, which is indisputable evidence of the above-mentioned cult. Moreover, scientists note that the image of these gods together is extremely rare case.

The image (the last one in the list) tells about the pharaoh, whose name the researchers find it difficult to identify. The fact that in the figure it is the pharaoh is confirmed only by the inscription: "The owner of two lands." A group of Swedish scientists has been studying the Gebel es-Silsila area since 2012. The team consists of 4 Swedish archaeologists who lead the excavations and 15 foreign scientists. The work is supervised by Maria Nilson, Ph.D. in classical archeology from Lund University (Sweden). During the work, experts on the territory discovered about 5,000 rock paintings and 800 texts. It is worth noting that this is the only Swedish archaeological project in Egypt.».

I am very glad not only that the Swedish researchers discovered the drawings in the area of ​​Gebel es-Silsila near Aswan, but also their interpretation of the drawings as a cult of the Moon with the participation of a pharaoh whose name is hard to read. I am especially pleased to read the inscription above the pilot of the vimana, located in fig. 6 left: WARRIORS 33 ARKONS. Apparently, from the point of view of Maria Nilson, the pilot of the vimana is just either the god Thoth or a pharaoh with a hard-to-read name. The warrior cocked his wedge-bearded head, looking up.

It is clear that for reading I have increased the image in contrast and slightly enlarged it in size. On the hands of a warrior, I read curious words: TEMPLE OF MARY RURIK ROME, in other words, TEMPLE OF MARY WESTERN CAIRO . I was especially pleased to read the explanation under the warrior's right hand: WARRIORS OF VIMANA MARY, in other words, AIRCRAFT TYPE PILOTS . This, of course, is either the god Thoth, or a pharaoh with an unreadable name.

And then I stop being ironic and read the inscriptions on the lower part of the warrior. Here I read the words: MARY'S MASK. 55 Warriors of Rurik. It means: IMAGE OF THE DEAD. 55 Warriors of Rurik . I believe that this is a title inscription explaining the whole composition, something like a subtitle. And then the continuation follows: THE TERRITORIES OF RURIK YAR DID NOT RETURN TO THEIR TROOPS OF MARY. And we see the portraits of these fallen soldiers: I show them 7 faces from different angles and at different scales. In other words, in addition to portraits of Rurik's warriors on wedge-shaped "choppers" in the form of castings, group portraits, as we see in the analyzed example, also existed on the rocks.

But there is also a title written in large letters on the right side of the rock at the very top: VIMANS and in slightly smaller letters: STANA RURIK. Now the intent of the composition is clear. However, one thing is not clear, and here is some hoofed animal with a cub. However, after reading the words above it: MARY'S MASK, I got it: IMAGE OF MARY, its SYMBOL, is a GOAT or GOAT. So everything fell into place. The symbol of the goddess of death Mara is depicted on the rock.

At the bottom left, I see an image of a caricature of a person's face, rotated to the right by ¾. His nose is unreasonably long, his eyes are of the Mongoloid type, his lips are full, and his beard is goat. But, interestingly, there is a crown on the head. There is a signature on the crown MIME, at eye level - the word MARY, below I read the continuation: RURIK WARRIORS. What made me happy here was the discovery that crowns first appear among the priests (although it is not yet clear - only among the priests of Rurik or even earlier among the Vedic ones).

On the lower part of the image there are also faces of warriors, which I single out in addition to 7 more 4. One of the faces on the back of the head has an inscription, which is also the inscription of a goat's tail. This is the face in the right profile. And the inscription that runs vertically across the back of his head reads: SE 35 ARKONA YARA. In other words, THIS IS GREAT NOVGOROD .

I read the last inscription on the back of a goat that comes to drink the milk of its mother, the goddess Mary. This is an inscription TEMPLE OF RURIK. Metaphorically, this means that in comparison with the great significance of the goddess Mary and her temple, Rurik's temple can be considered small and just born.

Rice. 4. Probably two of the 4 Swedish archaeologists exploring the rocks of Egypt

So, another type of sources has been found where you can read information about Rurik's vimans and the fate of his pilots, after the birch bark letters of Veliky Novgorod (more precisely, after their inner paint layer), Roman mosaics (more precisely, mosaics depicting a skeleton), Danish runic stones , these are the rock carvings of Egypt.

On fig. 4 I posted a photo from the article. If we assume that the woman on the right is the leader of the expedition, Maria Nilson, then in my opinion, she is young enough to draw true conclusions.

Although its results are quite plausible within the framework of the paradigm that academic Egyptology adheres to.

There is another photo in the article, fig. 5, which shows a stone, apparently found by the same archaeologists (unfortunately, there are no captions under all the photographs). However, the contrast of this photograph is not great, although it is clear that something is written on it.

Rice. 5. Photo of a stone discovered by Swedish archaeologists in Egypt

It is clear to me that in order to read the inscriptions on the stone, I must, as usual, make its photograph more contrasting and enlarge it in size, which I do in fig. 6, after which I start reading. And the first thing I pay attention to is the image of the aircraft in the upper part of the image on the stone on the left.

The device in the form of a cone flies from left to right, leaving behind a trail of swirling vortices. However, this cone is shown as if in a section, and inside it, as in a window, the faces of the pilots are visible. Among the very caricatured faces, I single out the head of the latter, given more or less realistically: it is turned 3/4 to the left, has a mustache, a small beard, and, on closer examination, glasses with square lenses. On this head (starting from the top, from the level of the helmet, and below) you can read the signature: WARRIORS OF THE ARMY OF RURIK YAR. Although this could be guessed, but the presence of a signature confirming this assumption makes it conclusive.

Rice. 6. My reading of the inscriptions on the stone from Egypt

The face of warrior No. 1 with its mustache and beard, and especially glasses with square lenses, is very similar to Rurik. But on the lower part of the window, in which his face is visible, you can read the words: RURIK MASK which means: IMAGE OF RURIK . So this assumption is also confirmed in writing.

Inside the cone of the aircraft there are numbers: 31-45 YAR. This is dating according to Rurik. In terms of the chronology familiar to us, this leads to the date: 887-901 A.D. . It is possible that these were the 14 years during which these Rurik warriors died in this place. If the youngest of the warriors was about 20 years old (and after all, the profession of a pilot had to be trained), then it turns out that the youngest warriors of the Rurik Air Force died in 521, and the oldest (who began flying at 40) - at the age of 85 years.

On the image of the vimana as cones, there is the largest face on the left. He is given with a ¾ turn to the right, has a barely visible mustache, goatee, hollow eyes and a fleshy nose. The signature on the face reads: MARY TEMPLE 33 ARKONY MIM. In other words, this priest was sent here from LADOGI as the capital of holy Rus' Rurik.

Rice. 7. My reading of the lower part of the stone from Egypt

And on the bottom there are several lines. And not only in a clearly expressed form, as we see in the middle of the photo, but also to the left and to the right of this central fragment. Here I read: on the first line of the word: 203 RURIK WARRIORS AND 3 MIMA YARA, and on the second line - the words: THE MARY OF THE WORLD DIED IN SCYTHIA, on the third line - the words: RURIK YAR IN THE TEMPLE OF THE LIGHTHOUSE OF ROME, on the fourth line: THE TROOPS OF VIMAN RURIK AND THE GRAVE OF THE WARRIORS OF RUSSIA OF THE WORLD OF ROME RURIK IN THE HOLY On the fifth line: RUSI RURIK, AND IN 33, AND IN 35 ARKON YAR MIRA MARY. On the sixth line: RURIK YAR VIMANY IS ROME TEMPLE MARY YAR IN THE WORLD OF YAR FAITHFUL VARYAG Rus' RURIK. The seventh line is half closed.

So, it became clear where the main cemetery of Rurik's Viman warriors is located. Now another stone from Egypt has appeared to the stone from Denmark, indicating the fate of the pilots of Rurik's Wiman.

Rice. 8. Part of another rock of Egypt and my reading of the inscriptions

The same article contains a third photograph, fig. 8, which also has Russian inscriptions. I decided to read the inscriptions on the upper ridge, under which one can see a flat part of the rock, on which Egyptian hieroglyphs are carved. And on this crest is written: VIMANY OF THE TEMPLE 30 ARKONY OF YAR VARYAG RURIK on the first line. And on the second line I read the words: 323 VIMAN RUSI YARA DIED IN 30 AND 35 ARKONS OF YAR. - As far as I understand, not the vimans themselves died, but their pilots. In other words, in fact, this comb confirms the data read on the stone, although there are discrepancies in numbers. But there is no point in reading further, because in the comments on archeology news I am interested in exemplary the content of the inscriptions, so that later you can use this information when it becomes available. And then it will be possible to finish reading them, again, if necessary.

I turn to the next plot, touched upon in the note, fig. 9.

Rice. 9. One of the plates allegedly of Pharaoh Nectaneb the First and my reading of the inscriptions

Slab of Pharaoh Nectaneb the First.

« During the excavations of the ancient Egyptian city Heliopolis archaeologists managed to ruin the temple. According to scientists from the University of Leipzig, it belonged to Pharaoh Nectaneb the First. His reign dates from 370-363 BC. In the vicinity of the ancient town of El Mataria, the expedition members revealed a huge number of blocks made of brown sandstone.

Subsequently, scientists recreated an approximate view of the structure. It was a stone temple with columns, which were trimmed with black basalt below. The temple had an Eastern gate. On them were various images and inscriptions. A figurine of an ancient Egyptian goddess with the head of a cat, Bast, was also found here. She was considered the patroness of women and the hearth. The archaeologists did not stop there.

Continuing the excavation, they were lucky again. In the temple, they discovered an ancient workshop. Nectaneb the First went down in history as the founder of the 30th dynasty of pharaohs, which became the last in ancient Egypt. The period of his reign was marked by the development of the economy and the construction of many buildings.» .

The note is accompanied by four photographs. I settled on a stele with the image of a pharaoh and Egyptian signatures. What caught my eye on this particular stele was the damage to the upper layer, from which one can see what was closed by this upper word. Therefore, it is possible to understand which inscriptions were created earlier and which later. It is clear that modern stelae have already been restored, and these, just found, provide an opportunity to look into this very past.

The first fragment of an ancient inscription and even an image is on the face. The top image is the head of the pharaoh in the left profile. And a deeper image is a head turned to the left by ¾. This type of angle is not found in Egyptian images. A profile view is the simplest. The conclusion from this observation: the so-called Egyptian style is more primitive compared to the earlier Russian one.

I'm going to read the captions. I notice that the depth of the Russian letters on the background image is very shallow compared to the depth of the letters on the exposed fragments. The conclusion is that at first the inscriptions were deep, and then they were plastered, but not completely, so that even with a small relief they can still be read. So I will distinguish between late and early inscriptions. Late inscription to the left of the head reads: TEMPLE OF YAR RURIK. It has been preserved and shows that the stele was originally created in the 9th century AD. Then I read the earlier word WORLD on a fragment of a naked face, and a later continuation: the word Warriors. The name WORLD OF WARRIORS OF RURIK, or Rus' (TERRITORY) OF RURIK'S TROOPS was the name of the area where the laws of Rurik were in force, in the first years of his actions as a haraon.

Next, I read the later name on the hanging part of the headdress: SKIF RURIK ARKON WARRIORS OF THE TEMPLE. In other words, a relief of one of the warriors of the temple of Mary, one of Arkon, a Scythian warrior, was created on the original image. And on the earlier face, as well as on the exposed shoulder, I read: RURIK MASK OF MARY, that is, IMAGE OF THE DEAD WARRIOR RURIK . By the way, this face is not only a bearded and mustachioed man, while a later Egyptian image shows the profile of a man who is clean-shaven, beardless and beardless, who has an artificial ritual beard.

Next, I read the inscription on the collar: VIMANA MARY. On the decryption field, I read the inscription on the left. Exactly the same inscription on the right. In other words, this stele was dedicated to the deceased pilots of the Vimana Mara, that is, FOR PILOT OF AIRCRAFT TYPE AIRCRAFT . And just below the collar I read a date slightly smeared with plaster: 5 RURIK YARA YEAR. This is the first time I see such a date on a stele. In terms of the chronology familiar to us, this means the date: . So, as I understand it, the first pilots began to die already during the first attacks of the vimanas.

Further, the plot itself is interesting. Main character(the pilot of the vimana of Mara Rurik) is on his knees and presents something on a tray. What exactly and to whom does he bring? Egyptian hieroglyphs are depicted in place of the layout of the pilot's gift. As far as I understand, they belong to a later image. In other words, something was converted into hieroglyphs. But what exactly? To understand this, I consider the upper part of the hieroglyph, which depicts two bird heads with hairy-looking flower heads on the sides. However, traces of an older image remained.

Reconstructing an earlier image, I remove the right head, and outline the borders of the colors. It turns out the figure of a falcon with the head turned to the left and wings laid aside. But this is the symbol of the RURIK Air Force! And on the right is a full face of a certain face of a warrior with a mustache and beard, on which is written: FROM THE WARRIORS OF RURIK TO YARU RURIK. In other words, the meaning of the whole composition is the offering to Rurik Yar of a gift to Rurik Yar in the form of Rurik's Air Force.

But in this case, the face of Yar Rurik must also be depicted somewhere. And we immediately find it in the center of the symbol on the tray. True, his face is very narrowed by a cartouche circled around him. However, this face, turned to the right by ¾, which, I repeat, is completely uncharacteristic for the Egyptians, is very recognizable: a straight nose, a small mustache, a wedge-shaped beard, and, most importantly, square glasses directly point to Rurik's face. He is wearing a padded pilot's helmet. In addition, on the forehead (and slightly to the left), you can read the word RURIK, and a little lower - the words YARA And MASK. They mean: IMAGE OF RURIK YAR . In my opinion, this relief of Rurik is one of the best both in terms of realism and excellent preservation. And below is an addition: TEMPLE OF MARY, that is, TEMPLE OF THE GODDESS OF DEATH .

But in this sense, the name of Pharaoh NEKTANEB also becomes clear. The last part of the inscription is the Russian word "NEBA". And the rest of "NEKTA" is, in my opinion, the word "SOME C", where the letters "O" and "C" merged into a ligature, the letter " A". In other words, the word NEKTANEBA is a Russian phrase SOMEONE FROM THE SKY. But who was this SOMEONE FROM HEAVEN? - It is quite clear that they were exactly YAR RURIK to which this plate was dedicated. So it would be interesting to consider the entire NEKTANEBOV dynasty.

Above the main character is another image of a falcon, on which you can read the words: 35 ARKONA YAR, MARY CHURCH RURIK. In other words, VELIKY NOVGOROD, MARY TEMPLE OF RURIK . So, as we saw on the previous plates, the city and the temple-manufacturer are marked here, namely VELIKY NOVGOROD.

On the hands of the warrior holding the tray, you can read the words: RURIK MASK OF THE TEMPLE OF MARY, that is, IMAGE OF RURIK OF THE TEMPLE OF MARY , which confirms the inscriptions already read. So it becomes quite clear who NEKTANEB was originally - the pilot of the Viman Mary, giving Rurik the symbol of the Air Force of Rurik.

Rice. 10. Egyptian blocks found by archaeologists under Heliopolis

I believe that here, on this slab, it is most clearly seen how the slabs of the Rurik warriors were converted into Egyptian slabs with the names of the pharaohs.

And in fig. 10 from the same note we see whole line blocks found by archaeologists near Heliopolis. Interestingly, none of them have Egyptian hieroglyphs. But on the other hand, there are inscriptions on them, in particular, on the nearest one.

At the top left of this block, I read the words: TEMPLE OF RURIK YAR. In the center of the composition, it depicts numbers: 30 very large and 35 within these numbers. And under these numbers read the words ARKONA YARA. This means that recently it was the temple of Rurik Yar from WESTERN CAIRO, and a little earlier - from GREAT NOVGOROD.

And on the right on this block you can find the image of the symbols of the Air Force of Rurik Yar. On the left is a seated falcon with its head turned to the right in profile, on the right is a seated full-face falcon with its head turned to the left and with slightly spread wings - just the same as we saw in the previous figure. And under these two falcons is the signature: (TEMPLE) OF THE WARRIORS OF VIMAN MARY. In other words, TEMPLE OF WARRIORS OF AIRCRAFT TYPE AIRCRAFT .

Rice. 11. The corner of the bar and my reading of the inscriptions

In the same note there is a photograph of another stone block, a bar - a view of it from the corner. At the same time, the left side has vertical stripes of Russian inscriptions that I want to read. To do this, I rotate them in the direction of the clock hand so that they lie horizontally.

I start reading from the very top. On the first line I read the words: VARYAG RURIK Rus' YARA, YAR RURIK. On the second line, more precisely, on the right side, where it can be seen - the words: TEMPLE OF THE WARRIORS OF VIMAN MARY. In other words, TEMPLE OF WARRIORS OF AIRCRAFT TYPE .

On the third line, I read the text, first the left side: 5 YAR. This dating, if translated into the chronology familiar to us, gives the date - 861 A.D. , the same as on the previous inscription, which is quite understandable, because we are talking about the same temple. However, confirmation of the dating is very useful in terms of proving the correctness of my reading. On the right side of the line I read the words: YARA RURIK RUSS MARY.

On the fourth line inside the cartouche you can read the words: MARY MASK, which means : IMAGE OF THE DEAD . Similarly, inside the cartouche, you can read the right side of the fifth line: VIMAN MARY TEMPLE OF RURIK YAR. On the sixth line I read the words: FROM THE CHURCHES OF THE NEW ARCON YAR RURIK YAR. Probably, they just mean Arkona No. 30 and 35, that is, WESTERN CAIRO And VELIKIY NOVGOROD .

Seventh line: FROM YAR WARRIORS OF THE SCYTHIANS OF MARY MASKS OF YAR RURIK. It means that in front of us is a temple DEAD SCYTHIAN WARRIORS YAR RURIK . Eighth, penultimate line: TEMPLE OF MARY WARRIORS VIMAN MARY RURIK'S TROOPS. This is what has already been read on other inscriptions of this temple. Ninth, last line: CHARAOH OF Rus' MARY RURIK. What follows is illegible.

Then I turn to reading the inscriptions on the right side of this bar, where there are Egyptian hieroglyphs. First, I read the inscriptions on the strip line between the corner of the bar and the line with hieroglyphs. The words are written here: RURIK YARA WARRIORS VIMAN. And then I move on to reading the inscriptions on the line with hieroglyphs: VIMAN MASK OF MARY WARRIORS OF MOSCOW MARY SKOLOTOV. And finally, on the last incomplete line, you can read the words: ARKON 33 AND 30 MARY Rus' SLAVIANS-WARRIORS.

Rice. 12. View of the entrance to the temple and my reading of the inscription

In other words, unlike the slab with similar inscriptions from this temple, it is not the SCYTHIANS, but the SKOLTS, and not from 35 and 30 Arkon Yar, but from 33 and 30 Arkon Yar, that is, not from VELIKY NOVGOROD and WESTERN CAIRO, and from LADOGA and WESTERN CAIRO. So each ethnic group of warriors in the same temple of viman warriors was dedicated to its own memorial stone.

On last photo from this note, fig. 12 shows the entrance to the building: on the right there are several steps leading to the high first floor, and under the stairs you can see a window leading to the semi-basement. And above the basement you can see the continuation of a narrow staircase.

I was interested in the inscription on the small arch of the window leading to the basement. She says: MARY TEMPLE OF RURIK. This is how the ruins of the temple look today, in which the ashes of the dead warriors of Rurik's viman from different cities of his state rested.

I believe that the temple of the alleged pharaoh Nectaneb will bring many more interesting details about the fate of the pilots of the viman Mary Rurik.

Rice. 13. Birch bark from Moscow

Moscow birch bark.

This note says: The excavations carried out by scientists of the Institute of Archeology of the Russian Academy of Sciences in Zaryadye, on the site of the demolished Rossiya Hotel, have brought unique find- the first Moscow birch bark charter in seven years, the press service of the Institute of Archeology of the Russian Academy of Sciences reports.

Until now, in the entire history of archaeological research in Moscow, only three letters have been found, and only one contained a detailed text.

The excavation at the site of the Mytny Dvor, in the southwestern corner of Kitay-Gorod, where the remains of the ancient Great Street were previously found, has now deepened more than 4 meters and brought up hundreds of small and large finds, which allow us to date the reached level to the end of the 14th century. , that is, the time of the heirs of Dmitry Donskoy.

“A particularly significant, extremely rare and important find for Moscow was a letter written on a sheet made of birch bark, that is, birch bark. She will surely give us a lot new information about the life of medieval Moscow,” the press service of the Institute of Archeology of the Russian Academy of Sciences quotes the words of the head of the excavations, Leonid Belyaev, head of the Department of Archeology of Moscow Rus', IA RAS.

For the first time, birch bark letters were found by archaeologists in Novgorod in the early 1950s. To date, more than a thousand Novgorod letters are already known; there are a few finds in other cities - Pskov, Staraya Russa, Smolensk, Tver. During the excavations of this season, the first birch bark was found in Vologda. Birch bark charters have turned ideas about life medieval Rus' because scientists were able to obtain evidence of privacy people, about spoken language.

In Moscow, birch bark letters were not found until the very end of the twentieth century. Only in 1988, the expedition of the Institute of Archeology of the Russian Academy of Sciences found a birch bark ribbon in Voskresensky passage - a piece of a draft or a copy of a document on land ownership. Almost 20 years later, during excavations in the Kremlin in 2007, two letters were found. One carried an inscription small and not very intelligible, but the second, written in ink (usually birch bark letters were written with metal writing), was extremely long and contained an interesting document - an inventory of property (primarily numerous horses) of a major feudal lord in the service of the Moscow prince, a certain Turabey .

“The charter found now is the fourth in a row. But in in a certain sense this is the first genuine letter that meets the “Novgorod standard” - this is a private letter written, letter to letter, in a distinct book handwriting of the 14th century, on a specially prepared strip of birch bark, ”the press service of the Institute of Archeology of the Russian Academy of Sciences quoted Leonid Belyaev as saying.

According to him, in the charter in question about the unsuccessful trip "to Kostroma" of a man whose name remains unknown. The author reports on the details of the trip, calling the addressee "Mr.". The details are sad: those who went were detained by someone who had the right to do so, and first took from them 13 bela (bela - the monetary unit in Rus', which replaced the nogata - both of a relatively small denomination), and even 3 bela. But this seemed not enough, and for some unknown reason, the messenger gives him and his mother another 20 bela "and a half". Together, these requisitions (or repayment of the debt - we do not know) amount to 36 bela, not to mention half a dozen - a rather impressive amount.

The text of the charter, its linguistic and literary properties are now being studied by linguists».

Rice. 14. My reading of some words of the inscriptions

In this case, I was interested in whether the Moscow Charter also has a second layer, and if it does, then what is it about. But first, I would like to read at least a few words of explicit inscription. I'm reading the text here: SLAY I LITERATURE (O) U ... OS ... ONE ... OU VERE... The second word can be taken as read by archaeologist Leonid Belyaev word LORD. However, I was a little confused by the first word of SLU, as in Veliky Novgorod.

Next, I try to read the writing on a deeper ink layer. First, I made sure that it exists. And then I started reading. On the right side of the letter I read the words: TO TEMPLE ARKONA 35. In other words, TO THE TEMPLE OF GREAT NOVGOROD.

And then I move on to continue, to read the inscription on the visible diagonal part: TO THE BROTHERS WARRIORS OF YAR RURIK, MARY TEMPLE. The line below on a straight section you can read the words MIMU MARY. So the addressee of the letter is clear, and no longer refers to the XIV, but to the IX century. However, it is still unclear to me: five centuries later, Moscow used its own stock of birch bark letters, or a part of the stock of birch bark came here from Veliky Novgorod.

Fig.15. Another view of the same birch bark and my reading of the inscriptions

On fig. 15 I show another view of the same birch bark, where again I have increased the contrast and enlarged the image. On the first line, I read the continuation of the inscription to the addressee: YARA RURIK TO THE WARRIORS OF MARY ROME MARY AND THE TEMPLE OF YAR RURIK Rus' (MARA).

Then I skipped the line and began to read: TO THE WARRIORS OF RURIK TO THE SLAVES OF VIMAN MARY OF THE WORLD OF RURIK. - And this is no longer an address, but a message, advice or order. Most likely, such a message was produced from 30 Arkona Yar, that is, from Rome Rurik, from WESTERN CAIRO , but not at all from the territory of present-day Moscow, Russia.

This command continues on the next line: TO THE TEMPLE OF THE PEACE OF MARY RURIK YAR AND THE TEMPLE OF MARY… One more line below: YARA VIMANAM RURIK AND VIMANAM MARY TO BE IN ROMA YARA. And these are the lines of the order. And besides, RURIK's AIMANS were understood VIMANY RURIK REGION , and under the VIMANAS of MARY - VIMANS OF Rus' MARY .

Further, the letter narrows, but, nevertheless, on the first line of the narrowing, you can read the words: TO THE TEMPLE OF MARY ARKONA YAR 30 TO THE MILITARY CAMP OF Rus' RURIK. So after arriving at WESTERN CAIRO WIMAN PILOTS AND PARATROOPERS will have to apply to the MILITARY CAMP OF Rus' RURIK to the local command. - It is clear that it was this command that wrote this letter as an order.

On the second line of the narrowing, I read the words: FROM 33 WARRIORS OF VIMAN MARY RURIK OF THE TEMPLE OF MARY, and in continuation on an even narrower line, I read the words: 23 WARRIORS OF YAR 35 ARKONS OF YAR VIMAN MARY RURIK WILL ENTER THE TEMPLE OF ROME. And the third line of the narrowing I read the words: ROME RURIK Rus' YARA TROOPS, on the fourth - the words: MOSCOW MARY Rus' RURIK TEMPLE. In other words, WARRIORS OF VIMAN RURIK OF THE GREAT NOVGOROD SHOULD ENTER THE TEMPLE OF WESTERN CAIRO . And finally, on the bottom line - the words : TEMPLE YAR RURIK.

So, if on several lines it was said that the warriors of the Vimana of Mary should enter the temple of Rurik in Western Cairo, then it is specified in which temple - in the temple of Yar Rurik Yar. It is clear that such an order could only be issued from western Cairo.

Discussion.

This time I could only look at 4 sources, but not from the Archaeological News that I have looked at so far. In principle, these news are no different from the news from the usual site. This is about the same level of journalistic retelling of the achievements of archaeologists, where some inadequate understanding of journalists is superimposed on the tales of the archaeologists themselves.

However, additional news brought to the attention new material, which revealed some very interesting artifacts. And the first of them was a type of tattoos on the skin of mummies, still unknown to Egypt, but known today as a tattoo. This was discovered by US archaeologists, more precisely, by researcher Ann Austin. She found more than 30 tattoos on the woman's body. I was able to read the inscriptions on the neck of the mummy: MIMA MARY, ROME OF THE TERRITORY OF RURIK YAR AND THE TEMPLE OF MARY. So the priestess did not serve the Egyptian gods, but the goddess Mara in the temple of Rurik. This further strengthens the assumption expressed in our previous articles that many of the so-called pharaohs of Egypt today were in fact priests and priestesses of the Rurik temple.

And then I was very lucky with the study of inscriptions dedicated to the vimanas of Mara Rurik. In the Egyptian area south of Cairo and near Aswan, Gebel es-Silsila, which is very reminiscent of a distorted Russian name THE DEATH OF THE STRONG-STRONG , rocks and individual stones were found with a mention of the deceased warriors of the viman of Mara Rurik. For 4 years, since 2012, Swedish archaeologists have discovered more than 5 thousand drawings, and, as I believe, many of them were just dedicated to the soldiers of Rurik.

On the very first rock, 55 dead warriors of the Vimana of Mary from 33 and 35 Arkon Yar, that is, from Ladoga and Veliky Novgorod, were mentioned. Now we know where the graves of our great ancestors, Air Force soldiers, are located, where, on occasion, we could lay flowers. In addition, on the stone found in the same place, there is an interesting portrait of Rurik. What is valuable - there is a date of death of 203 warriors - 31-45 years of Yar (887-901 AD), and it is emphasized that all the soldiers were loyal to Rurik.

There is also a rock with Russian inscriptions, on which a flat depression was later carved, and then Egyptian hieroglyphs appeared on it. And although this example is not too obvious, it is still clear that the Egyptian inscriptions arose later than the Russian ones. In addition, the mention of the Egyptian pharaoh Nectaneb, depicted on a number of Egyptian inscriptions, can be understood as an expression of SOMEONE FROM HEAVEN, a metaphor for the warriors of the vimana of Mara.

But on a flat slab found in the same place, there is no doubt about the later appearance of Egyptian hieroglyphs and images, since here, on the contrary, Russian inscriptions turned out to be plastered, and their existence was discovered when in some places (on the face, shoulder) the plaster collapsed and exposed Russian inscriptions. Moreover, an amazing thing came to light: the so-called "Egyptian" style of depiction (head and legs in profile with a full-face torso) appeared precisely in order to completely cover the earlier Russian realistic relief! For the area of ​​the Egyptian image turned out to be larger, and it completely covered everything that was under it. To achieve the same with a similar realistic image would be much more difficult.

Thus, the key to the “Egyptian style” of relief appeared. However, in addition to this, on this slab it was possible to identify the most interesting and realistic portrait Rurik in glasses (possibly flying) and in an aviation helmet. We can say that the beginning of the portrait Rurikian, fig. 16.

Rice. 16. Two portraits of Rurik, named SOMEONE FROM THE SKY, from the valley of the Death of the Strong-Strong

There is also a tombstone in the form of a bar with the mention of chipped pilots, while the Scythian pilots were mentioned on the slab. This tombstone appeared on the 5th year of Yar, that is, in 861, when Rurik had just gathered his first army. The ruins of the temple of Mary Rurik have also been preserved.

However, the greatest success awaited me in the epigraphic analysis of the recently found fourth birch bark of Moscow. It turned out that it belonged to the same stock of birch bark leaves 500 years old, which was used in Veliky Novgorod. This letter was sent from 30 to 35 to Arkon Yar (from WESTERN CAIRO or ROME RURIK to VELIKY NOVGOROD), and by origin did not belong in Moscow, where it ended up 500 years later. It followed from this that archaeologists and linguists, even in the case of Moscow, did not guess about the existence of a second, colorful layer of birch bark letters with valuable information from the Rurik era, in this case, about the order to arrive 33 warriors of the Viman Mary from Veliky Novgorod to Rurik's Rome (Western Cairo). ). - It turns out that the military campaign of Rurik can be traced by the birch bark letters of the cities in which they were found. It is, of course, very valuable. historical source, which I have replenished in Lately surprisingly fast.

Conclusion.

Although reading multi-line inscriptions on stones, rocks and birch bark takes a lot of time, it is worth it. The remarkable past of the Russian ethnos under Rurik is gradually revealed.

Literature.

Rocks with petroglyphs painted on them are located in the area modern village Kurta is about 40 km south of the Upper Egyptian city of Edfu. In ancient times, it was called Behdet and was the cult center of the sky god Horus (later identified with the Greek Apollo). Rock carvings - petroglyphs - were discovered there by Canadian archaeologists back in the early 60s of the XX century, but then the place was forgotten. These petroglyphs were rediscovered by the Yale University expedition in 2005: the corresponding publication was made in 2007 in Project Gallery of Antiquity.

The images were carved or carved into the rock, they are very naturalistic: you can see bison and other wild animals.

Based on the nature of the drawing (substrate, technique and style), blackening technique and degree of weathering, as well as the archaeological and geomorphological context, the petroglyphs were assigned to the Late Pleistocene, more precisely, to the Late Paleolithic (23,000-11,000 years ago). This dating has been criticized by the archaeological community.

In 2008, an expedition led by Dirk Huij, organized by Royal Museum Art and History of Brussels (Belgium) discovered new rock paintings near Kurta. The deposits covering the petroglyphs were partially composed of wind-blown dust: it was this dust that was analyzed in the laboratory of mineralogy and petrology (luminescent research group) of the University of Ghent (Belgium). The luminescent dating method is able to determine how much time has passed since the deposited dust particles were hidden from sunlight by new layers. In other words, it shows how long the dust has "not seen" the light.

These petroglyphs turned out to be the oldest in at least all of North Africa: luminescent analysis showed that their age is at least 15,000 years old.

The petroglyphs of Kurta are more or less modern European art the last ice age, for example, in the famous caves of Lascaux (France) and Altamira (Spain). European monuments are supposed to be several thousand years older.

Opening ancient art this level of skill is important, but not unexpected news, experts say. In the more southern parts of the continent, much older examples of art are known. So, in 1969, images of animals 26,000 years old were found in Namibia. In 1999 and 2000, engraved geometric motifs were discovered on the coast of South Africa, which are 75-100 thousand years old.

The images on the rocks in Kurt are stylistically very close to the European petroglyphs of the ice age, although they are separated by considerable distances.

However, there is a “bridge” between them: such images are a little more late period were found already in northern Italy, in Sicily, and also in the north of Libya, off the coast. Given that the level of the Mediterranean during the Paleolithic was 100 m lower (and African illegal migrants successfully travel in boats to Sicily and under modern high level sea), it is very likely that in the Paleolithic era there was a cultural exchange between the continents, which determined the similarity of the images.

On the territory of Russia, petroglyphs are known (for example, the Onega Bes in Karelia), whose age reaches 4,000 years.

15,000-year-old rock paintings, similar to ancient petroglyphs found in Europe, have been found in Egypt. Coincidences confirm that there was a cultural exchange between the continents at that time.

Rocks with petroglyphs painted on them are located in the area of ​​​​the modern village of Kurta - about 40 km south of the Upper Egyptian city of Edfu. In ancient times, it was called Behdet and was the cult center of the sky god Horus (later identified with the Greek Apollo). Rock carvings - petroglyphs - were discovered there by Canadian archaeologists back in the early 60s of the XX century, but then the place was forgotten. Again, these petroglyphs were discovered by the Yale University expedition in 2005: the corresponding publication was made in 2007 in the Project Gallery of Antiquity.

The images were carved or carved into the rock, they are very naturalistic: you can see bison and other wild animals.

Based on the nature of the drawing (substrate, technique and style), blackening technique and degree of weathering, as well as the archaeological and geomorphological context, the petroglyphs were assigned to the Late Pleistocene, more precisely, to the Late Paleolithic (23,000-11,000 years ago). This dating has been criticized by the archaeological community.

In 2008, an expedition led by Dirk Huij, organized by the Royal Museum of Art and History of Brussels (Belgium), discovered new rock paintings near Kurta. The deposits covering the petroglyphs were partially composed of wind-blown dust: it was this dust that was analyzed in the laboratory of mineralogy and petrology (luminescent research group) of the University of Ghent (Belgium). The luminescent dating method is able to determine how much time has passed since the deposited dust particles were hidden from sunlight by new layers. In other words, it shows how long the dust has "not seen" the light.

These petroglyphs turned out to be the oldest in at least all of North Africa: luminescent analysis showed that their age is at least 15,000 years old.

The petroglyphs of Kurta are more or less contemporary with European art of the last ice age, for example in the famous caves of Lascaux (France) and Altamira (Spain). European monuments are supposed to be several thousand years older.

The discovery of the oldest art of this level of skill is important, but not unexpected news, experts say. In the more southern parts of the continent, much older examples of art are known. So, in 1969, images of animals 26,000 years old were found in Namibia. In 1999 and 2000, engraved geometric motifs were discovered on the coast of South Africa, which are 75-100 thousand years old.

The images on the rocks in Kurt are stylistically very close to the European petroglyphs of the ice age, although they are separated by considerable distances.

However, there is a “bridge” between them: similar images of a slightly later period were already found in Northern Italy, Sicily, and also in northern Libya, off the coast. Given that the level of the Mediterranean during the Paleolithic was 100 m lower (and African illegal migrants successfully travel by boat to Sicily and at present high sea levels), it is very likely that during the Paleolithic era there was a cultural exchange between the continents, which determined the similarity of the images.

On the territory of Russia, petroglyphs are known (for example, the Onega Bes in Karelia), whose age reaches 4,000 years.