Pásztor Emília (szerk.): Sámánizmus és természethit régen és ma - Bajai dolgozatok 23. (Baja, 2019)
Sergio Poggianella: A szakrális táj. A Dalmeri menedék sámánja
A Sacred Landscape. The Shaman of the Dalmeri Shelter for the hunt, or used in burials? Given their intentional positions, clearly as to certain ideological schemes - the fact that when found, 75% had the painted face down - lets us suppose a social organisation guided by particularly gifted individuals, whose knowledge, experience and roles evoke the modern shaman. Bernardino Bagolini thinks of "a magic art" created and practiced by adult Upper Palaeolithic initiated as hunters. A sort of shaman that the community exonerated from production activity, so that they could dedicate full time to ritual, thought of particular importance for community survival"19. As regards functional use of the hunted animals and of food, ethnographic research has shown that: "meat is the object of interest, implying both the ideological and religious sphere and also sharing resources, to express and strengthen wider solidarity within the distribution of gathered products among just a few families"20. The hunt for animals, and the functional and ritual use of their anatomical parts involves a social organisation and a subdivision of tasks, prearranged and freely or coercively shared. So the great question arises, not only of the uses, but also of the representation of the objects: are they functional, ritual, symbolic or something else? Not wanting to enter here into the controversy that for more than a century has tormented scholars who tried to answer why wall and mobile painting were created and used during the Upper Palaeolithic - we need only mention Reinach, count Bégouën, Breuil, Leroi-Gourhan and A. Laming-Emperaire - we mention here some recent research by Jean Clottes and David Lewis-Williams described in the essential and discussed volume Les chamanes de la préhistoire, 199621. The two authors start from the premise that shamanism - so widespread in many areas of the world - the relative world vision and shaman practice, best answer, with respect to other approaches, to "certain particularities of the art in deep caves"22 and, this theory accepted, we could venture to include mobile art, represented by the painted stones at the Dalmeri Shelter. So hypothesizing the production of abstract and realistic figuration of signs and symbols by individuals who, when carrying out ritual functions, have the role of a shaman, Clottes b Lewis-Williams, following in-depth neuropsychological research in the laboratory, hypothesized three major stages of trance or altered conscience, which though involving all the senses, differ as to the effects caused by the means of induction and any use of hallucinogens. "In the first and lightest stage of trance, geometric forms such as points, zigzags, grids appear, with sets of parallel lines and curves and meanders”; these are living coloured forms that the open eyes project on surfaces. While at the "second stage, subjects attempt to rationalize their geometric perceptions which are transformed, as to their illusions, into objects charged with religious or 214 ///////////////////////////^^^^
