Transformation of Elk Rock Art in Mongolia: From Realism to Abstraction

In a groundbreaking study published in the *Cambridge Archaeological Journal*, Dr. Esther Jacobson-Tepfer, a prominent archaeologist affiliated with the University of Oregon, investigates the evolution of elk rock art in the Mongolian Altai region. This comprehensive analysis reveals a significant cultural transformation, illustrating how elk depictions transitioned from realistic portrayals to distorted, wolf-like forms over several millennia.

The research highlights the intricate relationship between environmental changes and artistic expression. According to Dr. Jacobson-Tepfer, the earliest elk imagery, dating back to the late Paleolithic period (approximately 12,000 years ago), exhibited a naturalistic style characterized by realistic depictions of elk in their natural habitats, often alongside other fauna such as mammoths and ostriches. These artworks were predominantly pecked into rock surfaces, as painted images have largely deteriorated due to the harsh climatic conditions of the Altai Mountains.

"The survival of painted images is extremely rare in this region, as only one set has been documented in the Khoit Tsenkir cave, located in Khovd aimag," Dr. Jacobson-Tepfer explains in her 2025 study. She emphasizes that the environmental factors have played a critical role in the preservation and transformation of these artworks.

As time progressed into the Bronze Age, the depictions of elk began to undergo a notable shift. Artists increasingly stylized elk representations, elongating bodies and exaggerating antlers, eventually leading to highly abstract forms reminiscent of wolves. This transformation coincided with significant paleoenvironmental shifts characterized by a cooling and drying trend in the Eurasian steppe, compelling human populations to adapt their subsistence strategies and social structures.

"These artistic changes reflect a broader socio-political evolution, as communities transitioned from fixed settlements to semi-nomadic pastoralism, moving across expansive terrains for hunting and grazing," Dr. Jacobson-Tepfer asserts. The decline in realistic elk imagery symbolizes a move towards abstract representations that conveyed personal and group identities rather than merely reflecting the surrounding natural world.

In the context of these societal shifts, elk became emblematic of rank and status among emerging social hierarchies, further distancing their representations from naturalistic origins. This trajectory culminated in the complete disappearance of elk imagery by the Turkic period, marking a profound cultural transformation.

This study not only illuminates the artistic evolution in the Mongolian Altai but also serves as a poignant reminder of how environmental factors can shape cultural narratives and artistic expressions. The implications of these findings extend beyond the realm of archaeology, offering insights into the interconnectedness of art, environment, and society throughout history. As researchers continue to examine the nuances of rock art, the story of the elk in Mongolia provides a fascinating case study of adaptation and identity in the face of changing ecological realities.