The Hunter, the Stag, and the Mother of Animals offers an in-depth exploration of the changing traditions of belief in pre-Bronze and Bronze Age North Asia. Esther Jacobson-Tepfer centers her argument on a female deity and her evolution up until the early Iron Age, across a 2,000 year period. Through the art historical and archaeological evidence of the symbolic systems left behind, she traces the progression of the deity from an originating animal mother through her incarnation as the mother of animals, her late embodiment as the guardian of the road to the land of the dead, the transformation of her essential liminality into the structures of predation and, in the form of a predated stag, her subsequent destruction. In detailed commentaries on rock art structures and monuments, Jacobson-Tepfer reconstructs and explores how the deity's power was embedded in the Janus-faced concept of life/death: how, in all her forms, the deity occupied the threshold between the worlds of humans and ancestors, humans and animals. More broadly, this study details how her fate was directly related to the sociological evolution at the onset of the Iron age: the transition of the cultures in South Siberia and Mongolia from hunting-based settlement to horse-dependent semi-nomadism, and with that the rise of a heroic narrative tradition. Jacobson-Tepfer has had unparalleled access to regional data still unavailable in the West, and the collection of this data in English as well as her extensive collection of color photographs and drawings will fill a gaping hole in the literature and prove invaluable to both archaeologists and art historians.The Hunter, the Stag, and the Mother of Animals will surely become a standard reference for both disciplines as well as a guide to those interested in rock art and beliefs systems more generally.

Petroglyphic rock art in three valleys of Mongolia's Altai Mountains reveals the anatomy of deep time at the boundary between Central and North Asia. Inscribed over a period of twelve millennia, its subject matter, styles, and manner of execution reflect the constraints of changing geology, climate, and vegetation. These valleys were created and shaped by ancient glaciers. Analysis of their physical environment, projected from the deep past to the present, begins to explain the rhythm of cultural manifestations: where rock art appears, when it disappears, and why. The material and this remote arena offer an ideal laboratory to study the intersection of prehistoric culture and paleoenvironment.

The stone monuments of Mongolia’s Altai Mountains trace the web of ancient cultures across that remote land. This study breaks new ground by seeking their cultural significance from within their physical locations and viewsheds. It is the first study to join the mute stone monuments to the vivid petroglyphic rock art of that region. In that and in the examination of a monument’s individualizing details, I seek to recover the impulse of original intention, the way in which monument and location fix cultural memory, and the way in which memory finally gives way to the cultural development of myth.