ИСТИНА

The Kyafar mausoleum stands out among Alan artifacts due to its rich and intricate imagery. A fresh perspective to interpreting the imagery emerges when exploring the Karachay-Balkar version of the Nart epos, which unexpectedly offers a clear reading of the images found on the mausoleum walls. The imagery depicted appears to narrate a story of a political struggle between two prominent figures, Prince Örüzmek and his predecessor known as 'Red Fuk.' These individuals are likely historical figures and could potentially correspond to the Alan kings Orosmik and Dorgolel, respectively. The plot of this story unveils intriguing and almost documentary-like insights into life within and around the capital of the Alans, which is likely to be referenced by all of these toponyms: Mag'as, Muz-Ashan, Malasha, or Mal-Khushtu. Key aspects of Alan society illuminated by this interpretation include their militant lifestyle, reliance on pastoralism and hunting, tributes to the ruling Prince, and the significance of collective decision-making in their political system. Interestingly, the symbol of a turtle emerges in both the mausoleum's imagery, the Nart epos, and the archaeological site of the Kyafar settlement, as a symbol of political power within the Alan society. The tomb does not bear any inscriptions, whether in Greek letters or Turkic runes, which may signify the emphasis on oral tradition within Alan culture and account for the absence of written sources in the Alan language. The imagery, epic narratives, and linguistic clues provide further insights into the significance of Christian tradition within Alan society, highlighting both its importance and limited relevance and, perhaps, (second) abandonment of Christianity among the Alan elite in favor of their traditional beliefs in 12th Century. The latter possibility correlates well with the account by Nikephoros Kallistos that it was during the reign of Alexei I Komnenos (brother-in-law of Dorgolel's daughter) that the Alan diocese was united with the Sotiriupol diocese (Abkhazia) and left Alania. This research opens avenues for further investigation and invites scholars to explore the connections between Caucasian folklore, visual art, and historical context in diverse ancient civilizations.