The acoustics of the Lower Chuya River area rock art landscape are analyzed through both the exploration of its acoustic properties and the ethnographic information gathered about the region. The results obtained in the acoustics tests undertaken in the area, in particular at the rock art sites of Kalbak-Tash I, Kalbak-Tash II, and Adyr-Kan, are examined. They indicate that the perceived loudness resulting from a natural amplification of sound (strength parameter) and music and speech clarity may have been some of the reasons behind the selection of these locations for rock art production. The ethnographic sources related to the Altai and other Siberian areas are then reviewed as a way of providing an ontological framework for the study of Altaian sonic concepts and behaviors in nature. As the sources indicate, at least for the historical period and presumably earlier, in the prehistoric period, all existing beings are entangled by sound, and they mimic each other in endless ways. We argue that these sites were selected in a non-linear relational ontological framework. It is suggested that the multidisciplinary perspective combining archaeology, physical acoustics, and ethnography has considerable potential for providing a new, richer understanding of rock art landscapes.

通过探索其声学特性和收集的有关该地区的民族志信息，分析了楚雅河下游地区岩画景观的声学。检查了在该地区进行的声学测试中获得的结果，特别是在 Kalbak-Tash I、Kalbak-Tash II 和 Adyr-Kan 的岩石艺术遗址。他们指出，声音（强度参数）和音乐和语音清晰度的自然放大产生的感知响度可能是选择这些地点进行摇滚艺术制作的一些原因。然后回顾与阿尔泰和其他西伯利亚地区有关的民族志资料，作为一种为研究阿尔泰自然声音概念和行为提供本体论框架的方式。正如消息来源所指出的，至少在历史时期，大概更早的史前时期，所有存在的生物都被声音纠缠在一起，它们以无穷无尽的方式相互模仿。我们认为这些站点是在非线性关系本体论框架中选择的。建议将考古学、物理声学和民族志相结合的多学科视角具有相当大的潜力，可以提供对岩石艺术景观的新的、更丰富的理解。