Versione in inglese dell'introduzione allo Sciamanismo, leggete gli articoli in italiano dal MENU'.
Archaeoastronomy and Shamanism in the central mediterranean area
On the Caprione’s promontory (Eastern Liguria) we have discovered a “quadrilithon” (a trilithon with a lower horizontal stone, Fig. 1) oriented to the summer’s solstice sunset, through which the sun light produces a gilded butterfly (Fig. 2) on an opposite phallic stone. On the promontory we have discovered five megalithic places which form the Cassiopeia’s constellation mark also, we think that in the promontory these two elements determinate the presence of a sacred place of shamanism, dedicated to the “generating-constellation” Cassiopeia. The “generating-contellations” are the Northern constellations from which spirits of men arrive in the World and to which spirits return, with the aid of the shaman (Rappenglück M., 1998).
These two elements are present in the Passo di Corvo statuette (Puglia) dated 5 500 A.C., which represents a shaman woman during a trance (Fig. 3); she shows the two brests, and below two marks of Cassiopeia and two butterflies (Gimbutas M., 1990). In this statuette in hieratic attitude (Tiné S., 1983) you can observe like nostrils are marked by two small holes, one of which preserves red pigment traces (Tiné S., 1983).
In the Central Massif (Lozère-France) we have discovered two megalithic places with constructions like the Caprione’s promontory “quadrilithon”.
In the “Calvaire” (Châteauneuf de Randon, Fig. 4) we could control that the sun light enters the construction at the summer’s solstice sunrise (azimuth 56°). In the same moment (June 8, 2001, summer time 06 01) we could control that the full moon set was visible, in opposite direction, in another hole of the megalithic construction (azimuth 216°).
Another megalithic construction is in Château Vieux de Randon (Fig. 5); we have calculated that this quadrilithon is oriented to the azimuth 320° and in 3 000 B.C. the Cassiopeia constellation was visible across this opening at the winter’s solstice midnight.
In Valcamonica (Northern Italy) we have seen in Paspardo (Dos Sulif, Fig. 6) a “rosa camuna” represented with the Cassiopeia constellation and in Foppe di Nadro we have recognized in the “Idolo farfalla” - V Millenium B.C. (Anati E., I982); the shaman who supports a soul beginning the fly to the “generating-constellation” (Fig. 7).
In the Sas Concas eneolithic hypogeum (Oniferi, Nuoro), a necropolis with artificial grottoes (domus de janas) the ancient Sardinians engraved a cosmic representation placing four cupmarks on the left wall and the rudder on the right wall (Fig. 8); this sketch represents the Great Bear constellation as it appeared at the 2.700 B.C. winter's solstice midnight. The dead and the birth (Fig. 9) the butterfly (Fig. 10), a shaman (?), the Gemini (?) and Cassiopeia constellations are represented also (Fig. 11). In the sanctuary of PietraPerzia (Enna, Sicily – Fig. 12) we have seen that the “solium” (the stone sacerdotal chair) is positioned to see the summer’s solstice sunset (Fig 13). In Rocca Cavour (Piedmont-Northern Italy) we have recognized in a rock picture, dated 3 500 B.C. (and published like an anthropomorph with a cap) the presence of the shaman woman, the Cassiopeia constellation, the Milky Way and two masked anthropomorphs that seem shamans (Fig. 14). We have calculated that in 3 500 B.C., at the summer’s solstice midnight, the Cassiopeia constellation was rising in the East (azimuth 90°) in a vertical shape, crossing the horizon.
Archaeoastronomy and Shamanism in the central mediterranean area
On the Caprione’s promontory (Eastern Liguria) we have discovered a “quadrilithon” (a trilithon with a lower horizontal stone, Fig. 1) oriented to the summer’s solstice sunset, through which the sun light produces a gilded butterfly (Fig. 2) on an opposite phallic stone. On the promontory we have discovered five megalithic places which form the Cassiopeia’s constellation mark also, we think that in the promontory these two elements determinate the presence of a sacred place of shamanism, dedicated to the “generating-constellation” Cassiopeia. The “generating-contellations” are the Northern constellations from which spirits of men arrive in the World and to which spirits return, with the aid of the shaman (Rappenglück M., 1998).
These two elements are present in the Passo di Corvo statuette (Puglia) dated 5 500 A.C., which represents a shaman woman during a trance (Fig. 3); she shows the two brests, and below two marks of Cassiopeia and two butterflies (Gimbutas M., 1990). In this statuette in hieratic attitude (Tiné S., 1983) you can observe like nostrils are marked by two small holes, one of which preserves red pigment traces (Tiné S., 1983).
In the Central Massif (Lozère-France) we have discovered two megalithic places with constructions like the Caprione’s promontory “quadrilithon”.
In the “Calvaire” (Châteauneuf de Randon, Fig. 4) we could control that the sun light enters the construction at the summer’s solstice sunrise (azimuth 56°). In the same moment (June 8, 2001, summer time 06 01) we could control that the full moon set was visible, in opposite direction, in another hole of the megalithic construction (azimuth 216°).
Another megalithic construction is in Château Vieux de Randon (Fig. 5); we have calculated that this quadrilithon is oriented to the azimuth 320° and in 3 000 B.C. the Cassiopeia constellation was visible across this opening at the winter’s solstice midnight.
In Valcamonica (Northern Italy) we have seen in Paspardo (Dos Sulif, Fig. 6) a “rosa camuna” represented with the Cassiopeia constellation and in Foppe di Nadro we have recognized in the “Idolo farfalla” - V Millenium B.C. (Anati E., I982); the shaman who supports a soul beginning the fly to the “generating-constellation” (Fig. 7).
In the Sas Concas eneolithic hypogeum (Oniferi, Nuoro), a necropolis with artificial grottoes (domus de janas) the ancient Sardinians engraved a cosmic representation placing four cupmarks on the left wall and the rudder on the right wall (Fig. 8); this sketch represents the Great Bear constellation as it appeared at the 2.700 B.C. winter's solstice midnight. The dead and the birth (Fig. 9) the butterfly (Fig. 10), a shaman (?), the Gemini (?) and Cassiopeia constellations are represented also (Fig. 11). In the sanctuary of PietraPerzia (Enna, Sicily – Fig. 12) we have seen that the “solium” (the stone sacerdotal chair) is positioned to see the summer’s solstice sunset (Fig 13). In Rocca Cavour (Piedmont-Northern Italy) we have recognized in a rock picture, dated 3 500 B.C. (and published like an anthropomorph with a cap) the presence of the shaman woman, the Cassiopeia constellation, the Milky Way and two masked anthropomorphs that seem shamans (Fig. 14). We have calculated that in 3 500 B.C., at the summer’s solstice midnight, the Cassiopeia constellation was rising in the East (azimuth 90°) in a vertical shape, crossing the horizon.
A Shamanic Interpretation
The first shamanism's point is that the human spirits in the sky-constellation, that are called "generating-constellation"; after the life on the Earth, the human spirits return to those "generating-constellation". During this voyage to return, the spirits are bird, butterfly or bee shaped; this fact is called "embodiment of the principle of Transformation" (Streep P., 1994). In Asian populations (Mongolia) it's still in force the religious belief that spirits, before becoming incarnate, are born near a constellation, to which they will return after death (Rappenglück M., 1998). The Ursa Major's constellation, among the Mongols, was also invoked as a god of destiny (Heissig W., 1969). For the Buriati people this role is done by Pleiads (De Toffol D. & Bellatalla D. , 1997) while for Egyptians and for the Celtic people of the Iron age this role was performed by Orion. For the Sami population of Lapponia, Perseus and Cassiopeia formed the image of the sacred elk, a shamanic - totem archetype (Gaspani A. 1998). The Australian tribe of Wotjoballuk used the Crux constellation (Di Cesare V., 1996) while the Maya used Saggitarius (Harris J.N., 1998).
The first shamanism's point is that the human spirits in the sky-constellation, that are called "generating-constellation"; after the life on the Earth, the human spirits return to those "generating-constellation". During this voyage to return, the spirits are bird, butterfly or bee shaped; this fact is called "embodiment of the principle of Transformation" (Streep P., 1994). In Asian populations (Mongolia) it's still in force the religious belief that spirits, before becoming incarnate, are born near a constellation, to which they will return after death (Rappenglück M., 1998). The Ursa Major's constellation, among the Mongols, was also invoked as a god of destiny (Heissig W., 1969). For the Buriati people this role is done by Pleiads (De Toffol D. & Bellatalla D. , 1997) while for Egyptians and for the Celtic people of the Iron age this role was performed by Orion. For the Sami population of Lapponia, Perseus and Cassiopeia formed the image of the sacred elk, a shamanic - totem archetype (Gaspani A. 1998). The Australian tribe of Wotjoballuk used the Crux constellation (Di Cesare V., 1996) while the Maya used Saggitarius (Harris J.N., 1998).
Passo di Corvo Statuette
The Cassiopea mark and the butterfly double-symbology is found in a "terracotta" figurine (cm 6,5 x 2) recovered in Passo di Corvo (Foggia, Daunia, South-Italy) the greatest village of European Neolithic period (Tiné S., 1983).
This statuette, dated 5 300 B.C. - 5 700 B.C., represents a female figure with half-open eyes, in an altered conscience condition (contemplation, ecstasy?). The afore-mentioned symbols are under both breasts. In this statuette in hieratic attitude (Tiné S., 1983) you can observe like nostrils are marked by two small holes, one of which preserves red pigment traces (Tiné S., 1983).
An ulterior confirmation to this hypothesis can be deduced by the Cavillon Grotto's Tomb excavations, near Grimaldi (Imperia - Ligurian Riviera) where a statuette has been recovered which is characterized by an ochre filled furrow (cm 18 long) that departed from the nose till the mouth (Leroi-Gourhan A.,1970).
Professor Tiné notices butterflies and he recognizes like the statuette may represent a divinity, perhaps the Mother Goddess, or that it was consecrated to her, but he assimilates the zig-zag marks to grass snakes (non poisonous).
The Cassiopea mark and the butterfly double-symbology is found in a "terracotta" figurine (cm 6,5 x 2) recovered in Passo di Corvo (Foggia, Daunia, South-Italy) the greatest village of European Neolithic period (Tiné S., 1983).
This statuette, dated 5 300 B.C. - 5 700 B.C., represents a female figure with half-open eyes, in an altered conscience condition (contemplation, ecstasy?). The afore-mentioned symbols are under both breasts. In this statuette in hieratic attitude (Tiné S., 1983) you can observe like nostrils are marked by two small holes, one of which preserves red pigment traces (Tiné S., 1983).
An ulterior confirmation to this hypothesis can be deduced by the Cavillon Grotto's Tomb excavations, near Grimaldi (Imperia - Ligurian Riviera) where a statuette has been recovered which is characterized by an ochre filled furrow (cm 18 long) that departed from the nose till the mouth (Leroi-Gourhan A.,1970).
Professor Tiné notices butterflies and he recognizes like the statuette may represent a divinity, perhaps the Mother Goddess, or that it was consecrated to her, but he assimilates the zig-zag marks to grass snakes (non poisonous).