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 emotional meaning". At the third stage, "the subject feels pulled into a vortex, at the end of which he sees a light. On the edge of the vortex appears a grid deriving from the geometric images of the first stage. Within the grid, the subject perceives the first true hallucinations of persons, animals and so on. As soon as he emerges at the end of the tunnel he finds himself in the bizarre world of the trance: monsters, human beings and environment are intensely real. Geometric images are still present, but mainly at the periphery". These visions, as at the first stage, are seen with open eyes23. The premises of this fascinating and bold theory are proven: at the altered state of conscience, not only shamans, but also some Western subjects, under certain conditions can have similar hallucinations, in turn depending on situations and sites to be tightly linked to the culture and taste of the subjects involved. Remaining in the field of myth and delirium, the paleo-ethnologist Emmanuel Anati suggests that if we give credit to dictionary definitions: "Most of the mythology of the world's people falls into the category of delirium or hallucination. The fantastic stories of creation, of the work of ancestral spirits, divinity, monsters, supermen, can be defined as the effect of delirium or hallucination? But these stories are the very basis of our intellect, they characterise the cognitive and intellectual capacity of Homo sapiens, his fantasy, his need to invent"24. It is a heritage, literary, intellectual and conceptual, common to all populations, in primis to those without writing. The creation of the red ochre painted stones of the Dalmeri Shelter is also the fruit of delirium, of visions obtained during altered states of conscience? Or do they depend on the intuitions of some artist-shaman who created the tools for a ritual in a conscious state, remembering and symbolically re-proposing what he saw in dreams or in an altered conscious state? Or is it the result of collective artistic hallucinatory activity? On this topic, Anati states: "collective hallucinations necessarily start as the hallucinations of an individual, teacher, instructor, shaman or prophet. This paradigm shows the role of the individual and the function of the diffusion process and acceptance process of collective hallucinations"25. Imaginary or real experience is the fruit of memory and although can be shared, is to be considered subjective. Elaborated by individual or collective memory, imaginary and real are perceived differently by each individual. The Dalmeri Shelter stones include various figurative types: human representations or symbols (Fig. 3-4), animals (Fig. 5-6), schematic (Fig. 7), which sometimes formally become plant like (Fig. 8) or show intentional traces of red pigment or simple residues of colour. All the stones show a flat colour distribution, with no outline. In the pictorial "film” on some stones was found an organic substance, similar to bee's wax. The *****************5***^ 217
