рус

Abstract

Abstract
The article examines the representation of emotional states in the petroglyphs of Central Asia through the example of a multi-figure composition from the Sarmyshsay gorge. Particular attention is paid to the analysis of body plasticity, gesture semantics, and compositional dynamics as visual means of expressing anxiety, fear, and emotional tension. The study is based on formal-stylistic, iconographic, comparative-typological, and plastic-dynamic methods of analysis. The author attempts to reconstruct the emotional condition of anthropomorphic figures through the study of posture, gesture, and movement. Ritual scenes, hunting compositions, and cult imagery are also considered within the context of emotional expressiveness in rock art. The study concludes that ancient artists consciously used the expressive possibilities of silhouette and movement to convey emotional states and the dramatic structure of compositions.