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SARMISHSOY ROCK PETROGLYPHS AND THEIR STUDY HISTORY
Polvonova Farida Omonboyevna
Senior Lecturer, Department of History, Navoi State University
Abstract:
This article presents information about the Sarmishsoy rock petroglyphs—one of the
historical monuments left from ancient times in our land, which is one of the cradles of ancient
civilization. It also discusses the history of their study.
Keywords:
Sarmishsoy rock petroglyphs, open-air museum, Altamira cave, wildlife, primitive
humans, tribes, rock art, UNESCO cultural heritage.
To date, there are more than 100 locations in the mountainous and foothill regions of Uzbekistan
where ancient rock carvings can be found. One of the most significant among them is the
Sarmishsoy rock art monument. Due to the diversity of its content, themes, stylistic features, and
structure, it has gained worldwide recognition. The Sarmishsoy petroglyphs are in no way inferior to
those found in Soymalitosh, Angara, Lena, Baikal, Amur, the Urals, Karelia, Gobustan, and even
those in Africa’s Sahara Desert, Spain (Altamira cave), and France.
Sarmishsoy is located on the southern slope of the Qoratogʿ range, opposite the Oqtogʿ mountains.
Today, this area is part of the Navbahor district in the Navoi region. In the northeast, Sarmishsoy
merges with the low hills and ridges of the Oqtogʿ mountain range. The region is a mountainous area
with a typical temperate climate similar to other parts of Uzbekistan. Compared to other
mountainous regions of our country, the climate of Sarmishsoy, Qoratogʿ, and the surrounding areas
is relatively dry. The hottest months are June and July, with an average temperature of 27°C, while
the coldest is January, with an average temperature of -2°C. Precipitation in Qoratogʿ is not
particularly heavy or dense and mostly occurs in late autumn, winter, and early spring. From May
onward, precipitation decreases, the soil dries out, and plants begin to wither. In winter, early spring,
and sometimes even in summer, strong winds blow from the north and northeast.
The southern slopes of the Qoratogʿ mountains are home to numerous ravines and streams such
as Bironsoy, G‘urtutsoy, Otchoparsoy, Qorong‘iungursoy, Naychaliksoy, Qoranarvoqsoy,
Tongotarsoy, Do‘lanasoy, Ko‘ksarosoy, Oltinsoy, and Sarmishsoy. These streams are fed by
rainfall, snowmelt, and freshwater springs. During the summer months, water from smaller
springs diminishes, and some even dry up completely. Among them, the most water-abundant is
the Sarmishsoy, which is fed by a large spring originating from a place called Suvboshi.
Despite their small size, the Qoratogʿ area is rich in springs, with over 70 identified within the
500 km² area of the Sarmishsoy gorge and its surroundings. According to local shepherds, these
springs can provide water for up to 50,000 livestock daily.
The regions of Nurota, Oqtogʿ, and Qoratogʿ are rich in vegetation. In these areas, 686 species
of plants belonging to 62 families and 335 genera have been recorded.
Most of them are
perennial and serve as food for wild animals and livestock. This biodiversity has made the area
a favored grazing ground for pastoral tribes since ancient times. It is likely that these mountain
valleys served as winter pastures, protecting livestock from harsh winds and snowstorms.
Currently, however, the local wildlife has become relatively sparse.
1
Zakirov, P.K. The Vegetation Cover of the Nurata Mountains. – Tashkent: Fan Publishing, 1969. – p. 66.
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 06,2025
Journal:
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page 657
Since ancient times, humans have been drawn to depicting the creatures and environment
around them—a need as old as human history and art itself. It is only natural to wonder what
motives the primitive people and tribes had in creating the rock carvings found in Sarmishsoy.
The purpose of these images can be interpreted in multiple ways.
They may have been created to satisfy cultural or educational needs, to pass on knowledge
about nature and wildlife to future generations, or as a means for skilled hunters to showcase
their prowess. These images could also have been used to teach hunting techniques or to
express human emotions. Through such illustrations, fathers may have aimed to show their
children that humans are the most intelligent and powerful beings—a message that aligns with
the idea of nurturing well-rounded and noble individuals.
For example, images of people riding horses or holding bows could have served to inspire
young men and women to be brave, agile, and capable of defending their tribe. Depictions of
hunters riding horses accompanied by dogs highlight the relationship between humans and
animals. These could also have served to promote domestication and the development of
livestock herding.
Researchers who have studied rock art offer a variety of interpretations. Scholars such as V.V.
Bartold, German researchers G. Obermayer and J. Haukis, I.M. Jafarzoda (who studied the
Gobustan petroglyphs), A.P. Okladnikov and A.A. Formozov (who studied Zarautsoy), G.
Kuhn, A. Breuil, and N. Casteret, have suggested that the images depict real events from the
lives of ancient people or reflect religious beliefs tied to primitive tribal magic.
In contrast, V.F. Zybkovets disagreed, arguing that these rock art samples were not related to
religious beliefs or magical ideas. Another scholar, V.A. Gorodtsov, who researched the
petroglyphs in Turgay province, believed the images were intended to increase the number of
livestock and wild animals. Meanwhile, I.G. Poslavskiy took a cautious approach to interpreting
the ideological meaning of the carvings, suggesting that they may hold a mysterious and
unclear purpose.
Notably, the renowned scholar M. Khojanazarov discovered and thoroughly studied 66
previously undocumented petroglyphs in Sarmishsoy. His work represented a significant step
forward in the research of the Sarmishsoy site. Today, significant efforts are being made to
preserve and transmit the heritage of Sarmishsoy to future generations, including initiatives to
register it as a UNESCO World Cultural Heritage site.
The current condition of the Sarmishsoy images has been carefully studied, and responsibilities
for their preservation and transmission have been outlined, with important recommendations
issued. Among them is the proposal to place this unique historical-natural monument under
state protection, officially declare it an “open-air museum,” ensure its safeguarding, and
organize regular tours.
As a result, the Sarmishsoy petroglyphs have been officially recognized by UNESCO as an
“Open-Air Museum” and listed as a unique example of global heritage. Indeed, the Sarmishsoy
rock art is a rare and invaluable historical legacy not only for Uzbekistan but for all of Central
2
Larichev, V.E. Enlightenment. – Moscow: Nauka Publishing, 1990. – p. 13.
3
Kabirov, A. Sarmishsoy Rock Carvings. – Tashkent: FAN Publishing, 1976. – pp. 93–96.
4
Zybkovets, V.F. Man Without Religion. – Moscow: Nauka Publishing, 1995. – p. 69.
5
Gorodtsov, V.A. Rock Paintings of the Turgay Region. Transactions of the State Historical Museum, Issue 1. –
Moscow, 1926. – p. 52.
6
Poslavsky, I.G. From a Trip to Saymaly-Tash. PTKLA, Issue XIII. – Tashkent, 1903. – p. 301.
7
Proceedings of the International Conference. Navoi – October 2004.
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 06,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 658
Asia. Its collection of diverse and distinctive petroglyphs has captured the attention of scholars
from around the world.
References:
1. Zakirov, P.K. The Vegetation Cover of the Nurata Mountains. – Tashkent: Fan Publishing,
1969. – p. 66.
2. Larichev, V.E. Enlightenment. – Moscow: Nauka Publishing, 1990. – p. 13.
3. Kabirov, A. Sarmishsoy Rock Carvings. – Tashkent: FAN Publishing, 1976. – pp. 93–96.
4. Zybkovets, V.F. Man Without Religion. – Moscow: Nauka Publishing, 1995. – p. 69.
5. Gorodtsov, V.A. Rock Paintings of the Turgay Region. Transactions of the State Historical
Museum, Issue 1. – Moscow, 1926. – p. 52.
6. Poslavsky, I.G. From a Trip to Saymaly-Tash. PTKLA, Issue XIII. – Tashkent, 1903. – p.
301.
7. Proceedings of the International Conference. Navoi – October 2004.
