The article focuses on Siberian petroglyphs traditionally attributed to being of the Angara style. Views regarding the distribution and chronology of this vaguely defi ned style are divergent. The objective of this article is to give it a more stringent defi nition, to assess its chronology and its relationship to the rock art of western and southern Siberia. Three palimpsests from Kamenny Ostrov II on the Angara are analyzed. Using A.P. Okladnikov's drawings at the St. Petersburg Archive of the Russian Academy of Sciences, the evolution of the style is traced. Based on the analysis of all relevant petroglyphs, the distribution area of the Angara style proper is determined. It includes the Cis-Baikal region (the Angara and upper Lena) and the right bank of the middle Yenisei. A local variety of the tradition existed on the middle Lena, Aldan, and Olekma. The Baikal tradition infl uenced the iconography of the famous elk fi gures of the Tom River area at the early stages of its formation. However, the Tom rock art site and similar rock art sites, traditionally believed to represent the Angara style, must be regarded as an independent Bronze Age tradition.

Results are given for a study of the effect of heat treatment regimes on the nature of change in micromechanical properties and phase composition of magnesium-aluminum composite material AD1-MA2-1 prepared by explosive welding.

Summary This paper focuses on a stylistic analysis of depictions of elk in Siberian rock art in the Neolithic and Bronze Ages. The aim of this paper is to go beyond the cultural and chronological attributions of rock art and to try to understand why and through what processes changes in rock‐art style occurred. In order to answer these questions, the phenomena of ethnicity and ethno‐cultural identity are explored. Rock art is not considered as a passive reflection of past ethno‐cultural groups but rather as an active agent in structuring social identities.

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