Pásztor Emília (szerk.): Sámánizmus és természethit régen és ma - Bajai dolgozatok 23. (Baja, 2019)

Andrzej Rozwadowski: Varázslyukak: Átjárók a szellemek világába a szibériai sámánizmusban

Sacred holes: Portals to the world of spirits in Siberian shamanism

Fig. 14. Khakas shaman holding a drum decorated with paintings. Important elements of the drum paintings are two crossing lines, which sing the centre of the universe. Collection of the N. M. Martyanov Minusinsk Regional Museum.

14 kép. Kezében festett dobot tartó hakasz sámán fényképe. A festett minták fontos eleme a két egymást metsző vonal, amely a világ középpontját jelképezi.

which he, however, did not possess. This was the main reason for his journey in seeking Adam Khan, the mythicai ancestor and patron of ail shamans. After embarking on a shamanic voyage, he and his guide finally made it through into the mountain and stood before Adam Khan. Adam Khan offered him a drum that hitherto belonged to shamaness Kham- Oziek. It is remarkable that on this occasion Adam Khan showed him a huge amount of drums hanging on the walls of his room inside the mountain. The room housed more than a hundred instruments (Burnakov 2011, 243). Having remembered the design of the drum assigned to him, Yukteshev later made his own instrument. The idea of shamanic journeying into the rock in order to find there the drum of ancestral shaman can be also linked with some petroglyphs found in the Minusinsk Basin (Fig. 8) (Rozwadowski 2017).

Similarly, many shamans among the Altai Turks regarded holy mountains to be their patrons from whom they received their drums (Potapov 1991, 77, 176-9, 199). Such beliefs were recorded in the Sayan-Altaic region by pioneering ethnographers as early as in the late nineteenth century (Dyrenkova 2012, 183). Shamans are said sometimes to returned

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