With the growth of farming economies from the seventh millennium BCE and social, technological, and artistic progress, the Goddess culture blossomed and culminated in Crete. Its religion gloriously outgrew the Siberian heritage, but that heritage had prepared and played a formative part. In the Paleolithic Altai country, or anywhere near it, we cannot hope for inscriptions or kindred items. These people were hunters and gatherers, using stone implements, dressing in skins and furs, living in caves or the crudest shelters. They had art of a simple kind, but no metals and not even a beginning of literacy.
Nothing follows, of course, about mental inferiority.
Genius and creative talents can take forms that leave no tangible traces. Even in classical Greece, as Mortimer Wheeler once remarked, an archaeologist may find the tub in which the philosopher Diogenes lived while completely missing Diogenes. The European cave paintings at Altamira and Lascaux are later, and megalithic monuments like Carnac and Avebury are later again, yet those gifted artists and builders were still as backward in some respects as Paleolithic Siberians. But among the earliest of all, retrieved from a cave burial, is an oblong panel of mammoth ivory dated about 24,000 BCE . On one side of it, three snakes establish its place in the Goddess network.