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Carvings in mountain rocks of arching backs and the semi-circled horns of wild bison clenched in a silent wrestle. Fast forward to the thump of horns or the knock of hooves; clouds of dust rising in a rocky landscape. Next to this an elegant gazelle grazes obliviously with its horns coiled upwards. Yet this is not a sight from the African savannah, this is one of the ancient depictions of life in Gobustan, Azerbaijan, as Jahan Hoggarth reports

Located 60 kilometres south of the capital, Baku, and created by the human desire to record the act of living, the rocks of Gobustan encompass over 6,000 mountain carvings of the ancients and their encounters along the journey of life. Discovered by accident during stone mining works in the 1930s, the carved depictions of men and animals of Gobustan have become as inseparable an image of Azerbaijan as the Maiden Tower in Baku.

According to Malahat Faradjeva, director of the Gobustan Museum, the oldest carvings date back to the 14^th millennium BC and show life-size bulls, Bos Primigenius. Now extinct, these were the ancestors of domestic cattle and their presence suggests that civilisation in Azerbaijan may have existed during the Upper Pleistocene period (up to 126,000 years ago).

Looking at the paper dry landscape of Gobustan today, it is hard to imagine that this land was once covered by tropical greenery, as depictions of loin-clothed men tend to suggest. 'During the Upper Pleistocene period Gobustan consisted of forests with very rich vegetation and depictions of deer and bulls serve as an example. Archeologists also discovered charred pieces of oak and pine, which helped to reconstruct the geographical environment of that period,' says Faradjeva.

According to the museum's geological data the level of the Caspian Sea was much higher during the Upper Pleistocene period, when the Caspian was connected to the Black Sea. 'The older the carving the higher on the rock it is,' says Faradjeva. 'This tells us about the varying levels of the Caspian Sea... on some rocks it is possible to see full-size pictures of bulls on lower levels, and horse-riding hunters with falcons on their shoulders further up.' 

Puzzlingly, there is also a carving of a dolphin, dating back to the end of the Upper Paleolithic period (around 10,000-40,000 years ago). These animals do not currently inhabit the Caspian Sea.

Not only do these drawings tell us when Azerbaijanis began living here, they also serve as a visual timeline of the nation's progress. The depictions of armed hunters with dogs, and bulls with ropes around their necks, reflect signs of animal domestication, characteristic of the Mesolithic period (around 11,000 years ago). Much later drawings tell the stories of the leisure habits of the Azerbaijani aristocracy - horsemen in rich clothing hunting with falcons on their shoulders.

Depictions of boats, similar to those used by the Vikings, led the Norwegian ethnographer Thor Heyerdahl to conclude that Scandinavian ancestors came from this region: 'Azerbaijan, and not Europe, was part of the fermenting kettle of brewing civilisation.' Drawings of caravans and camels led experts to believe that Gobustan was once a part of the Silk Route.

Evolution manifests itself through changes in carvings - the earlier the carving the more life-like the size and the style. 'Ancient artists reflected the world as they saw it,' notes Faradjeva. Later depictions are less realistic and smaller in size.

Yet, ancient creativity went further than just reflecting reality. Like present artists, pre-historic artists sought new ways to express themselves using nature's gifts; such as in a depiction of a painted bull where a fossilised shell is used as a nostril.  Another artist used the natural ledge of a hill as the bow of a boat. 

Millennia separate us and these rocks, yet when we unravel the carvings and learn about the fears and desires of our ancestors it makes this time span seem insignificant. Many themed cave carvings tell stories of common human experiences, such as longevity and success, love and fertility. Depictions of men and women with clenched hands reflect the ancient Azerbaijani ritual dance 'Yalli'. This tradition still lives in the wedding rituals of local Azerbaijanis. Bride and groom dutifully visit the site and are expected to dance Yalli as part of their wedding ceremony. 'We try to encourage this old tradition to keep it alive,' explains Faradjeva.

The energy of centuries and generations still feeds the inspiration of many Azerbaijani artists. The 'Shadows of Gobustan' ballet was written by Faradj Karayev and performed in Paris. Some artists devote entire series of paintings or books to the theme of Gobustan's drawings. Others are fascinated by the secrets of Gobustan. Filled with Pirs, sacred hearths of the Bronze age, the land of Gobustan also served as a place of worship for many centuries and this culture is not lost - those in need still seek retreat in Gobustan's sacred temples.

'It is safe to say that Gobustan, enriched with different cultures and religions throughout its history, served as a source of inspiration to many. This is a place where everyone can find something unique and close to their heart,' says Faradjeva. For these reasons, its preservation is significant.

When asked about the biggest challenges the museum is facing currently, the director's reply is long-suffering: 'Natural erosion and fungus growth on the carvings.' Faradjeva's determination to pursue non-invasive conservation also means a very thorough research of the preservation methods available. 'I believe in removing the cause of the problem, rather than artificial conservation,' she adds.

Faradjeva's thorough work is reflected in her methods of tracing and documenting the carvings. Unsatisfied with the results of the usual carving tracing methods, Faradjeva introduced a Norwegian expert who came up with the idea of night light photofixation, i.e. taking pictures at night using specially angled lights. 'Thanks to this method, we have discovered new drawings within the existing ones, which were never seen before,' she explains.

The museum's current path to success is largely due to the dedicated work of its staff and the funding provided by the Azerbaijani government. Neglected during the Soviet era, this open air museum suffered from the hands of vandals and general ignorance. The museum's luck took a turn for the better when UNESCO (the United Nations Educational, Scientific and Cultural Organisation) visited the site. Since 2007 UNESCO has officially recognised Gobustan as a rock-art landscape. 

Growing up in Baku in Soviet times we were familiar with our city's main attractions: the Caspian Sea, the fires of a Zoroastrian temple and the rock art of Gobustan. Their historical and geological significance was drummed into us all through our school years. But it is only more recently, with the oil boom of the 1990s and foreign interest in Azerbaijan, that we truly began to learn who we are as a nation.

Gobustan is our national story. It is told through the ritual dancing amongst the silent rocks and the music of winds whistling through the porous caves. This, and the rocky landscape running through and between the linear figures of men and animals painted over and over again by ancient artists, is a hugely important part of Azerbaijani art and its cultural heritage. It is wonderful that we are now seeking to preserve this land and its story of who we are and where we, as a nation, began.

Jahan Hoggarth is a freelance journalist