In Dashly-3, the “rhombus with hooks” is supplemented by T-shaped processes on the sides of the rhombus, which are also often found in rhombic compositions of North Russian ornamentation (Table 16). E. V. Antonova notes that the plan for the construction of the central part of Sapalli-Tepe becomes similar to the swastika. But such a swastika also has analogues in weaving and embroidery of the Vologda peasant women of the late 19th and early 20th centuries. As noted earlier, most researchers associate the appearance of ornaments of the Andronovo complex, and in particular, meanders, swastikas, etc., in Central Asia, Afghanistan and Hindustan in the late 2nd – early 1st millennium BC with the advance of the Aryan groups to these territories from the northwest. About how significant these ethnic shifts were, and what a serious change in ideological ideas they brought with them, is evidenced to a large extent by the fact that many of the archaic ornaments brought to Central Asia, Afghanistan, Hindustan by the northern steppe tribes, survived in this region to our time. So M. Ruziev in his work dedicated to Tajik woodcarving, writes, that in the design of the doors and gates of Bukhara, an important role is played by the geometric ornament that took shape in the pre-Muslim period, consisting of zigzags, rhombuses, squares, swastikas. Moreover, he attributes the swastika to the most ancient and stable motives of a geometric pattern. “It is found in various types of decorative arts – tiled decoration, paintings, embroidery, carpets… In Central Asia, this ornamental motif can also be found on knitted Pamir stockings, in carving on tombstones, carving and painting on ganch and wood, and glazed architectural ceramics. The swastika figured in the decoration of the brick floors of ancient Khuttal and on the ganch panels of the palace from Afrasiab (10—11 century).

Ganch panels of the palace from Afrasiab

Bukhara carved doors

On the carved doors of Bukhara dwellings, it often appears not only as an ornamental motive, but the door frame was also constructed from it…”

Shahi-Zind

Bibi-Khanum

It should be remembered that the swastika is present in the decor of Shahi-Zinda (14th century), Bibi-Khanum (14th century), El-Registan (15—17th century) in Samarkand.

Mausoleum of Khoja Ahmed Yasawi. Turkestan.

The ancient traditions of Aryan ornamentation were especially stable in the art and architecture of the Pamiris, where they survived to this day, which was facilitated by the disunity and inaccessibility of mountain villages, a patriarchal way of life and the fact that for more than two millennia the population here did not practically change.

Pamir stockings and socks

Mezen mittens (Leshukonye village)

The common origins of both the East Slavic, in particular the North Russian, and the Mountain Tajik (i.e., East Iranian) ornamental tradition are evidenced not only by works of applied art of the late 19th and early 20th centuries, but also by archaeological materials; so, for example, intricately drawn swastikas on a clay carved mazar Mavlono Muhammad-Ali 10—12 century find an analogy in the drawing of a stamp on the bottom of a vessel from the 11th-12th century from Staraya Ryazan.

As for such archaic, dating back to Andronovo, ornaments on the other side of the Pamirs, on the territory of Hindustan, it is well known what a huge role the swastika plays in the rituals, ceremonies, and decor of India – a symbol of the sun, eternity, and happiness. M. Ruziev, noting that the Central Asian swastika compositions are related to the ancient Indian ones, focuses on the ancient tradition, following which on the day of the Yatra holiday, the brahmans in desert places arranged large sacrificial fires, each of which consisted of four swastikas.