Archaeology, Ethnology & Anthropology of Eurasia 35 (3) 2008

Annotation:  Sergeyevka-1: Neolithic Site in the Khanka Plain, and the Typology of Middle Neolithic Sites in Pri Cultural Change during the Late Prehistoric Period in Southern Primorye (Based on Archaeological Ev Formation of the Eurasian “Steppe Belt” of Stockbreeding Cultures: Viewed through the Prism of Arch Stages in the Settlement History of Chicha-1: The Results of Ceramic Analysis New Early Iron Age Culture in the Southern Taiga Zone of Central Siberia Prospects for Correlating Radiocarbon and Archaeological Chronologies of the Scythian and Hunno- Sa The Role of Migration in the Evolution of the Andronov Community The Bear Image in Western Siberian Art of the 2nd Millennium BC and its Relevance for Delimiting the Ethnic and Cultural Functions of Name in Traditional Japanese Society G.I. Choros-Gurkin’s Archaeological and Ethnographic Drawings at the National Museum of the Altai R Eco-museums in Siberia as Centers for Ethnic and Cultural Heritage Preservation in the Natural Envi Cranial Characteristics of the Saka Populations of the Eastern Pamirs   

G.I. Choros-Gurkin’s Archaeological and Ethnographic Drawings at the National Museum of the Altai Republic

R.M. Erkinova and E.P. Matochkin.

The present article describes sketches made by G.I. Choros-Gurkin during his travels through Gorny Altai, Mongolia, Khakassia, and Tuva. G.I. Choros-Gurkin, fi rst professional artist among the indigenous peoples of Siberia, student to I.I. Shishkin, writer, educator, and public fi gure, has left over 2000 graphic works which constitute an artist’s encyclopedia of the Altai people. Choros-Gurkin’s archaeological sketches show burial mounds, stone statues, and petroglyphs, many of which have since been lost. The ethnographic drawings are documentary and represent the external appearance, way of life and beliefs of his native people.