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 by ethnographic research is surely risky and unfruitful. Given the recent discovery of these extraordinary objects of mobile art and thanks to detailed archaeological research, to anthropology is offered a unique chance to explore the rituality and spirituality of our Upper Palaeolithic ancestors, Homo sapiens like us. If here we can allow ourselves a brief note, in a wider research perspective, with a long leap in the time and space of art we can state that many contemporary artists and in particular Kandinsky33 - the inventor of abstract art - created their works (Fig. 11) with ideal spirit and tension similar to those that inspired the shaman artists, creators of the painted stones in the Dalmeri Shelter. Kandinsky's condition of artist often led him down paths full of obstacles, requiring difficult choices and behaviour, in some cases like the constraints on the shaman. Forms of forced isolation - partly due to the difficulty of finding true friends - or nervous crises and vertigo, himself using initiation rites and self-healing techniques of shaman origin. The ethnographer Kandinsky well knew that in general one becomes a shaman after severe illness with loss of the soul; and recovery during ecstasy forces the sick into an initiation journey to the immaterial world of shaman cosmogony. He knew too that to recover and have the soul returned by the spirits, the shaman after reaching the highest level of spirituality, must fight against the evil spirits of the lower world, bringers of death, and invoke the benign spirits of the higher world. Setting in communication earthly reality with the worlds of the spirit, the figures, the abstract form and aniconic signs in red ochre, impressed on the stones, as the work of Kandinsky, are the intentional fruit of the need and desire of man to explore the invisible world of the soul. This is the deep sense of all abstract art, of all times and places, from Palaeolithic to contemporary art, which in a multidisciplinary perspective can open to scientific research, unhoped for horizons. IÇfr. Dalmeri G., Neri S„ Bassetti M., Cusinato A., Kompatscher K. & Hrozny Kompatscher N. M„ Dalmeri Shelter: le pietre dipinte dell' area rituale, Preistoria Alpina, 45 (2011), Museo delle Scienze, Trento: pp. 67-146; Dalmeri G., Cusinato A., Kompatscher K. & Hrozny Kompascher N. M„ Neri S„ Le pietre con pitture in ocra di Dalmeri Shelter (Trento). Sviluppi delle ricerche suit arte e la ritualità del sito epigravettiano, Preistoria Alpina, 46 (2012), Museo delle Scienze, Trento: pp.17-40; Carra M„ Marinval P, Dalmeri G., I bulbi di avena altissima (Arrhenatherum elatius var. bulbosum) da Dalmeri Shelter (Trento): offerta votiva о cibo quotidiano?, Preistoria Alpina, 45 (2011), Museo delle Scienze, Trento: pp. 147-157. 2 The calcareous oolite stones were recovered from the rockslide below, which existed before the shelter was used. 3 Cfr. la voce "Magia" in Fabietti U. - Remotti F. (a cura di), Dizionario di Antropologia, Etnológia, Antropológia Culturale, Antropológia 225
