(Kyrgyz Express Post)

Saimaluu Tash Petroglyphs

Release Date:  18 May 2021




Issue Date: 18 May 2021
Designer: Daria Maier
Photographer: Vladislav Ushakov
Sheet Composition: Stamps are issued in minisheets of 5 stamps (with 1 label). Stamps are also issued in a collective minisheet of 3 stamps (1 complete set and 3 labels).
Stamp Size: 46.00 х 27.50 mm; Minisheets size: 113.00 x 108.00 mm; Collective minisheet size: 90.00 х 108.00 mm
Printing Method: Full color offset lithography
Perforation: comb 14:14½
Paper: coated, gummed, 105 g/m²
Printer: “Nova Imprim” (Chișinău, Moldova)
Quantity: 5 500 pieces each stamp, (including the quantity of the collective minisheet – 1 500 pieces)

Design #1: No. 172. 50 KGS. Animals








































































Design #2: No. 173. 150 KGS. Sunhead









































































Design #3: No. 174. 175 KGS. Agriculture









































































Sheet of 3 Stamps











































































Sheet of 5 Stamps #1












































































Sheet of 5 Stamps #2













































































Sheet of 5 Stamps #3














































































First Day Cover















































































Maximum Card #1
















































































Maximum Card #2

















































































Maximum Card #3



















































































On May 18, 2021 the Ministry of Digital Development of the Kyrgyz Republic puts into circulation a series of Kyrgyz Express Post postage stamps: “Saimaluu Tash Petroglyphs”.

Saimaluu Tash is the largest accumulation of petroglyphs in Central Asia and one of the largest in the world. It is located on the eastern slope of the Fergana Range in the Jalal-Abad region of Kyrgyzstan. The Saimaluu Tash State Nature Park (32,050 hectares) was established there in 2001.

“Saimaluu Tash” translated from Kyrgyz means “patterned stone”, which perfectly describes this magnificent place. This location holds more than 90,000 drawings, relating to different historical periods. The oldest images from the Saimaluu Tash stones date back to the 3rd and 1st millennia BC, and the most recent ones date back to the 8th century AD. The subjects of the drawings are very broad and reflect religious beliefs and views of the world of ancient people. There are images of deities, wild and domestic animals, birds and people, as well as many other images.

Saimaluu Tash drawings have become one of the symbols of Kyrgyzstan. Patterns and motifs of petroglyphs are present in the design of the World Nomad Games and also are widely used in souvenir products.

For this series, KEP also issues three postcards, which are used to realize three maximum cards.

Saimaluu Tash (meaning ’embroidered’ or ‘patterned stones’ in Kyrgyz) is a petroglyph site in Jalal-Abad Province, Kyrgyzstan, south of Kazarman. Over 10,000 carved pictures — and perhaps as many as 11,000 — which are black-and-white rock paintings, have so far been identified, making the site a globally important collection of rock art. They are a sacred display of offerings of the ancient people of the lower valley.

The site was proposed for listing under the UNESCO List of World Heritage Sites by the Kyrgyz National Commission for UNESCO on 29 January 2001. It is listed under the UNESCO’s Tentative List as “Saimaly-Tash Petroglyphs” for inscription under Cultural Category under Criteria: (iii), (iv) and (vi).

The petroglyph site is located on the Ferghana Range at about 3,200 metres (10,500 ft) in two high valleys, separated by a low mountain ridge. The site is 30 kilometres (19 mi) away to the south of Kazarman. From Kazarman village for a short distance there is a road on which only jeeps can ply but the rest of the way to the site can be reached in about a day on foot or horseback, but only around the month of August. It is a strenuous climb. At other times, snow conditions make it impractical to reach. The trek involves three days by jeep and seven days by horse.

The petroglyphs created in large galleries are thought to date from the early 2000 BC to 3000 BC of the Neolithic and Bronze Ages, and up into the Middle Ages (8th century AD). Bronze Age settlers had a sacred tradition of inscribing petroglyph. This continued during the Iron Age from 800 BC, and variants persevered for several hundred years to the medieval period, when Scythian and Turkic people did it.

It is also said that from 8th century BC to first century AD, Saka-Usun period prior to the Kyrgyz, people settled here. The Saka priests used this site for sacrificial rites to the sun god and their settlements are said to be submerged in the Cholpon-Ata bay. The site was sacred to the people of Tien Shan and Pre Ferghana, and is even now sacred to the modern generation of Kyrgizians for spiritual and healing qualities. It is part of the spiritual ethos of the peoples’ “religious beliefs and their worship of mountains, nature, totems and solar cosmic images.”

The site was first recognized by Russian cartographers in 1902 when they were carrying out surveys in the area for a road project to link a military camp between Jalal-Abad and Naryn; this road is now in use via Kazaeman. One of the cartographers, Nikolai Khludov, who had heard tales from a shepherd of “painted stones” in close vicinity to their camp, decided to examine the site with a team of surveyors. He reported his findings of the petroglyphs to the Archaeological Society of Tashkent. This society then mounted an expedition to further examine the site. However, the site was forgotten until 1950. After an excavation was conducted, the petroglyphs were specifically identified, numbered and their age determined. It is now under sporadic investigation by the Institute of Archaeology in Bishkek. Neolithic age petroglyphs are on display in the Kyrgyz State Historical Museum.

Archaeologists have bifurcated the site, calling the parts “Saimaluu-Tash 1” and “Saimaluu-Tash 2.”

Saimaluu-Tash 1, which extends over a length of 3 kilometres (1.9 mi), contains petroglyphs etched on shining basaltic stones. It is believed that they were “votive offerings” brought from the lower valleys. There is a small lake here where shamans used to perform sacred rites. Petroglyphs of several designs at this site have been identified on stones. The most common designs are animals like ibex (the long-horned ibex of the Turkish era was more frequent), horses, lions, and wolves. Another common drawing is of hunting scenes of deer, large antlers in particular; in this scene the hunters are shown using bows, arrows, and spears to hunt the animals. Agricultural operations such as tilling the land were a common theme. Other scenes are of ritual dances, the sun, wavy designs representing the flow of rivers, and sexual scenes. The artists perhaps portrayed their feelings of gratitude to the spirits of the mountain after a good crop or a successful hunting expedition.

Situated high up in the Ferghana mountain range, Saimaly-Tash is a grandiose natural sanctuary containing one of the biggest collections of rock pictures not only in Kyrgyzstan and Central Asia but also in the whole world. About 10,000 stones with pictures have been identified, the earliest dating back to the third to early second millennia BC, that is to the Eneolithic and Bronze Ages. Saimaly-Tash is remarkable in that it has been in continuous use as a sacred site by the populations of Tien-Shan and Pre-Ferghana from the third millennium BC until the middle ages, and even until the present day. It is thus a rich source of knowledge about the everyday life, mentality, history and culture of the ancient tribes of hunters, cattlebreeders and first peasants in Central Asia, about the development of their spiritual culture, their religious beliefs and their worship of mountains, nature, totems and solar-cosmic images.


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