V. I. Sarianidi compares the seals-amulets of Murghab (Southern Turkmenistan) of the middle of the 2nd millennium BC with the Near East and concludes about their independent origin. Speaking about the ornamental motif in the form of a swastika (“viper knot”), characteristic of Murghab seals, he comes to the following conclusion: " It seems that this specific drawing is more inherent in Iranian than Mesopotamian art: in this case, the Murghab image… most likely of Iranian origin,” and “only in the Iranian world do we meet scenes approaching the drawings of the Murghab seals”. We, in turn, can add to the above that K. Humbert in his album of 1000 ornaments of various peoples of the world defines the braid in the form of a “viper knot” as characteristic of the Iranian and Indian traditions.

But such an ornamental motif is often found in the decor of medieval miniatures of Russia, as evidenced by the materials of V. V. Stasov’s album, for example, the headpiece of the Gospel 1409 of the Pskov work (Table 14), the miniature of the Psalter of the Konevsky Monastery, made in the 14th century in Novgorod (Table.15), a sample of ornaments from Ryazan, Galich, Vologda 14—16th century. In addition, the “viper knot”, which was so characteristic of the Iranian tradition of the mid-to-late 2nd millennium BC, is present in the embroideries of various provinces of Russia until the late 19th and early 20th centuries. It decorates, as the main ornamental motif, a fly of the 17th century, embroidered spacers of the late 19th century in the Tambov and Voronezh provinces and Kirillovsky district of Novgorod province.

V. I. Sarianidi notes that with the spread of new types of seals, the practice of making anthropomorphic sculptures completely ceases in southern Turkmenistan and the Indus Valley, which indicates changes in the ideological ideas of the local population, and that many authors see new Indo-European tribes in the carriers of the Dzhukar culture Indian subcontinent. This is how R. Heine-Geldern and V. Ferservice identify the Djukarts with the Arias, and G. M. Bongard-Levin believes that: " the emergence of the Djukar reflects the penetration of a small group of tribes associated with Baluchistan into Sindh”. One of the most important proofs of the Aryan invasion is considered the seals from the Chankhu-Daro hill, which are sharply different from the Harappan seals proper and have analogues only in the Indus Valley, Southern Turkmenistan, Northern Afghanistan, Susiana. Of exceptional interest in the light of our problems is the discovery by the Soviet-Afghan expedition (under the leadership of V. I. Sarianidi) in Northwestern Afghanistan, northwest of Balkh, of a monumental complex, defined by V. I. Sarianidi as a “temple city” of the Bronze Age. K. Yettmar suggests that both the circular fortification with nine towers and the surrounding buildings Dashly 3, subordinated to a certain religious idea, were used only during the annual holiday period. He notes that memories of such ritual centers are preserved in both ancient Indian and ancient Iranian texts. In addition, the mythology of Nuristanis (Kafirs of the Hindu Kush) contains indications of the “heavenly castle” where the souls of the dead find shelter. Descriptions of such a castle are in many ways reminiscent of structures in northern Afghanistan. K. Yettmar believes that the analogies of the “temple city” of Dashly 3 in the steppe zone were Koy-Krylgan-Kalu and the Arzhan mound in Tuva. E. V. Antonova, analyzing the layout of the structures of Dashly 3 and Sappalli-Tepe (Southern Uzbekistan) and noting the presence of geometric shapes in their outlines, he writes: “The fact that the planning of structures was given special importance is also evidenced by the amazing closeness of the plans of several buildings of the Late Bronze Age with ornamental motives”. V. I. Sarianidi notes the unusual layout of the so-called “palace” Dashly-3 and considers the T-shaped, extremely narrow corridors, in which it is difficult for even one person to pass, very indicative. “It seems that they had a” false “character, did not carry any functional load, were the architectural and ritual canon that should have been unswervingly present in monumental buildings of this purpose”. We can state that the plan of the “palace” Dashly-3 (Table 16) is traditional, one of the most widespread, along with the swastika, elements of Russian weaving, the so-called. “rhombus with hooks”, the semantics of which is devoted to one of the works of A. K. Ambroz.