zyryk but are completely outnumbered by animal motifs. Such specifically Scythian features as zoomorphic junctures—i.e., the addition of a part of one animal to the body of another—are rarer in the Altaic region than in southern Russia. The stag and its relatives, however, figure as prominently in Altaic as in Scythian art. Combat scenes between carnivores and herbivores that occur quite often in Scythian art are exceedingly numerous in Pazyryk work; but, whereas the Scythians show the victim passively accepting its fate, as on 5th-century BC gold triangular plaques from the so-called Seven Brothers burial in the Kuban, the Pazyryk beasts are locked in such bitter fights that the victim's hindquarters become inverted.Siberian tribesIn the virtually contemporary metalwork of Siberian nomads, single animals of the cat family, such as panthers, carry the Altaic tendency of exaggeration further by twisting their bodies into a circle. In slightly later Siberian plaques, subtle openwork is used, a feature rarely present in Altaic or Scythian objects but frequently encountered in the more rounded versions of the animal style produced in the Ordos region of China, perhaps by Hunnish craftsmen, between the 4th century BC and the 2nd century AD. In the latter part of the 1st millennium BC, Siberian metalworkers adorned many of their gold and bronze plaques with artificial gems made of glass, as well as with jewelled inlays. They produced belt buckles (buckle) shaped like the letter B. Two such gold pieces (State Hermitage Museum) are of particular interest because of their figural content. It has been suggested that they illustrate some ancient Central Asian epics, for one depicts a hunting scene and the other a warrior lying under a tree with his head resting on a woman's lap while a servant holds their two horses. These subjects, possible forerunners of certain episodes in the Shāh-nāmeh (“Book of Kings,” a work by the 10th century Persian poet Ferdowsī giving an account of ancient Iranian history), are thought to complement those on a series of openwork plaques, some of them of Ordos origin, on which either two dismounted riders are shown fighting while their horses stand passively on either side or two horses are seen locked in battle, pursuing their masters' quarrel (State Hermitage Museum).Mongolian Huns (Hun)In the 4th century BC the Huns started to migrate westward from the Ordos region. By the 3rd century BC they had reached the Transbaikalia and had begun to enter Mongolia, which soon became the centre of their empire. Many mounds mark their progress. Those in the Zidzha Valley lie at the same latitude as the Pazyryk mounds and were subjected to similar conditions of freezing, which helped preserve their contents. The richest of the excavated burial sites, however, are those of Noin Ula, to the north of Ulaanbaatar, on the Selenge River. Like those at Pazyryk, they included horse burials. The furnishings of one tomb were especially lavish. The prince for whom it was made must have been in contact with China, for his coffin was apparently made for him there, as were some of his possessions buried with him (e.g., a lacquer cup inscribed with the name of its Chinese maker and dated September 5, AD 13, now in the State Hermitage Museum). His horse trappings (State Hermitage Museum) are as elaborately decorated as many of those found at Pazyryk. His saddle was covered with leather threaded with black and red wool clipped to resemble velvet. The magnificent textiles in his tomb included a woven wool rug (rug and carpet) lined with thin leather (State Hermitage Museum); the centre of the rug depicts combat, of Scytho-Altaic character, between a griffin and an elk, executed in purple, brown, and white felt appliqué work. The animals' bodies are outlined in cord and embroidered. The design on another textile is embroidered in the form of a tiger skin with a head at each end. The animal's splayed-out body is formed of black and white embroidered stripes. Other textiles are of Greco-Bactrian and Parthian origin. In some of the Part