Ancient Scythian Animal Art Origins Unearthed in Siberia!
A recent archaeological study has illuminated the early development of the Scythian “animal style”, one of the most recognisable artistic traditions of the ancient world. Led by Dr Timur Sadykov, researchers have analysed discoveries from Tunnug 1, a monumental burial mound in the Republic of Tuva, southern Siberia, dating back to the late ninth century BCE. Their findings, published in Antiquity, offer rare insight into how this symbolic art form first emerged before spreading across the Eurasian steppe.
The Scythians, a nomadic people of Iranian origin, were active from as early as the 9th century BCE. Renowned horsemen and formidable warriors, they left behind a legacy of artistry that reflected their beliefs, values, and social identity.
Photo Credit: T. Sadykov et al., Antiquity (2025)
Among their most distinctive creations is the Scythian animal style – an artistic language of stylised animal figures rendered in gold, bronze, and bone. These motifs appeared on everyday items such as horse gear, weapon fittings, and jewellery, and even as tattoos. Far more than decoration, the imagery conveyed messages of power, identity, and a spiritual connection with nature.
Until recently, the origins of this tradition were poorly understood, largely because most surviving artefacts lacked secure archaeological contexts. The discoveries at Tunnug 1 have now changed that.
Located in the Uyuk Valley, often called the “Valley of the Kings” for its vast kurgans (burial mounds), Tunnug 1 was first identified in 1980, but excavations were halted due to the site’s swampy terrain. Renewed work in recent years has uncovered an extraordinary collection of artefacts, human remains, and horse sacrifices.
Photo Credit: T. Sadykov et al., Antiquity (2025)
The tomb, dated precisely to between 833 and 800 BCE, represents one of the earliest known examples of Scythian-style material culture. It includes the full “Scythian triad”: weapons, horse equipment, and animal-style ornamentation, offering a rare glimpse into how these elements first came together.
What distinguishes Tunnug 1 from later Scythian masterpieces is its simplicity. Instead of the elaborate gold and intricate mythological scenes found in later centuries, the motifs here feature just four species: felines, birds, snakes, and ovicaprids (likely wild sheep). Crafted mainly from bronze and bone rather than precious metals, these decorations adorned practical items such as cheekpieces, harness fittings, and weapon handles.
This early focus on wild animals, rather than composite or mythical creatures, suggests that early Scythian artists were still developing a shared symbolic language, one rooted in nature and spirituality rather than complex myth.
The Tunnug 1 assemblage shows that even at this early stage, artistic styles varied widely, reflecting a mix of cultural influences from different nomadic groups inhabiting the region. This interaction likely helped shape a common artistic vocabulary, which would evolve into the iconic animal style found from the Black Sea to Mongolia in the centuries that followed.
Crucially, the evidence from Tunnug 1 challenges earlier theories suggesting that Scythian culture spread gradually from the west. Instead, it supports a Central Asian origin, pointing to South Siberia and Inner Asia as the heartland where Scythian art first took shape.
Beyond its aesthetic and cultural value, the excavation provides vital chronological data for understanding the emergence of Iron Age nomadic societies. Its precise dating and well-preserved context make Tunnug 1 a cornerstone for reconstructing how ritual, technology, and art intertwined during the first millennium BCE.
As analysis of the site continues, scholars hope to deepen our understanding of how these ancient steppe peoples viewed their world, and how they expressed it through the enduring language of animal art.