Between the Worlds. Rock Art, Landscape and Shamanism in Subneolithic Finland

Lahelma, Antti

doi:10.1080/09018320510032402

Cited by 27 publications

(24 citation statements)

References 13 publications

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“…The majority of the rock carvings in the Lake Onega area depict waterbirds (whooper swans) in different compositions (Poikalainen and Ernits, 1998). Rock art in the Lake Onega region has been associated with surrounding Pit and Comb Ceramic groups that settled the area around 4200-3500 cal BC (Lobanova, 1995;Lahelma, 2005).…”

Section: Wing Symbolismmentioning

confidence: 99%

Birds and burials at Ajvide (Gotland, Sweden) and Zvejnieki (Latvia) about 8000–3900BP

Mannermaa

2008

Journal of Anthropological Archaeology

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Section: Wing Symbolismmentioning

confidence: 99%

Birds and burials at Ajvide (Gotland, Sweden) and Zvejnieki (Latvia) about 8000–3900BP

Mannermaa

2008

Journal of Anthropological Archaeology

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“…The first historical documentation was formulated by priests within what was known as 'Lappology [which is] the name for the traditional study of Lapland and the Saami people' (Pulkkinen 2005: 189-191). More recently, however, research is directed towards gaining a wider understanding of Sámi culture and in particular pervious Sámi occupancy in the central and southern areas of Finland, which has helped to examine rock paintings and drum symbolism in a new light (see Lahelma 2001Lahelma , 2005.…”

Section: Previous Research Into Rock Paintings In Finland and Sámi Shmentioning

confidence: 99%

To all our relations: evidence of Sámi involvement in the creation of rock paintings in Finland

Joy¹

2013

Polar Record

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Research undertaken between 1960Research undertaken between to 1990 into what was once a rock painting tradition in Finland, lacked a clear understanding of parallels between the painted figures found at rock painting locations in the southern and central areas of the country, and the motifs painted on the heads of Sámi shaman divination drums from Lapland. However, due to the discovery and analysis of the content of more rock painting sites in Finland from 1990 up to the present, a more comprehensive framework has emerged in which scholars from across different academic disciplines have discovered many more similar characteristics linking the rock paintings and drum symbolism. These recent findings point towards the survival of a nature based sacrificial religion from the Stone Age era in Finland. The source of this was shamanistic in its essence, and is seen portrayed on rock and boulder formations by hunters similarly to how figures were illustrated on drum heads by the Sámi shamans from the nomadic era of the 17th and 18th centuries in Lapland. This more recent recognition strengthens the argument for Sámi involvement in the creation of rock paintings in Finland.

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“…I do not wish to engage in a general critique or defense of shamanism in this paper, but in a discussion on its use of analogical reasoning. Likewise, I am not concerned here with other related problems, such as the pervasive association between rock art and hunter-gatherer societies in the literature in spite of the fact that the bulk of the rock art in the world was not made by hunter-gatherers (Cruz Berrocal & Millerstrom 2010; for the case of South Africa see Smith & Ouzman 2004), or the analysis of the application of shamanism in Scandinavia (Tilley 1991, Helskog 1999, Lahelma 2005, Central Eurasia (Francfort 1998(Francfort , 2001b and other areas where a direct historical approach seems feasible, and where independent developments as well as points in common with the topic of this paper create a particular historiography worth exploring.…”

Section: Frameworkmentioning

confidence: 99%

Analogical Evidence and Shamanism in Archaeological Interpretation: South African and European Palaeolithic Rock Art

Berrocal

2011

Norwegian Archaeological Review

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Rock art studies have been strongly reliant on ethnography in recent decades. Since the 1970s, the (re)turn to ethnography has been considered short of a paradigmatic change, and it has indeed stirred a lot of theoretical discussion in the very under-theorized field of rock art research. The ethnographic turn has been mainly built around shamanism, very loosely defined here as the causal association that researchers establish between shamanic practices and rock art, and from which explanations have been sought. The application of this approach has changed through time, depending on 1) the archaeological context in which it was to be applied, 2) the use of additional sources of evidence (namely, neuropsychology), 3) the role of shamanism as a hypothesis or as an established fact. As a hypothesis it has been built on the basis of three different kinds of analogies: ethnographic, formal and uniformitarian. This paper addresses the shifting character of shamanism in South African and European Palaeolithic rock art studies, seeking to contribute at least in part to a broader reflection on the nature of analogical reasoning and its implications.

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Between the Worlds. Rock Art, Landscape and Shamanism in Subneolithic Finland

Cited by 27 publications

References 13 publications

Birds and burials at Ajvide (Gotland, Sweden) and Zvejnieki (Latvia) about 8000–3900BP

Birds and burials at Ajvide (Gotland, Sweden) and Zvejnieki (Latvia) about 8000–3900BP

To all our relations: evidence of Sámi involvement in the creation of rock paintings in Finland

Analogical Evidence and Shamanism in Archaeological Interpretation: South African and European Palaeolithic Rock Art

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